FIGURATIVE  TERRA-X 
REVETMENTS  IN  ETRURIA 


or 


FIGURATIVE  TERRA-COTTA    REVETMENTS 
IN   ETRURIA  AND   LATIUM 

IN  THE  VI.  AND  V.   CENTURIES  B.C. 


FIGURATIVE   TERRA-COTTA 

REVETMENTS    IN    ETRURIA 

AND   LATIUM 

IN   THE  VI.   AND   V.   CENTURIES  B.C. 

BY     E.    DOUGLAS    VAN    BUREN 


NEW  YORK 
E.    P.    BUTTON     AND    COMPANY 

1921 


PREFACE 

THE  excavations  of  the  last  few  years  have  added  enormously  to 
the  material  available  for  the  study  and  comparison  of  the  figurative 
terra-cotta  revetments  in  Etruria  and  Latium.  But  the  results  of 
these  excavations  are  only  partially  published,  and,  when  published, 
have  appeared  in  numerous  periodicals,  some  of  them  inaccessible 
to  the  ordinary  student.  A  collection  of  this  scattered  information 
should  be  helpful  for  further  researches,  and  I  trust  that  this  modest 
attempt  at  classification  may  inspire  others  to  carry  on  the  work 
to  more  definite  conclusions.  Archaeologists  have  thus  far  been  so 
largely  occupied  with  investigating  isolated  portions  of  the  material 
that  there  seems  to  be  an  opening  for  a  synthetic  study  of  the  subject. 

Every  year  excavations  in  Italy  result  in  so  many  fresh  finds  that 
a  catalogue  of  this  kind  must  necessarily  need  revising  before  many 
years  have  passed.  But  in  another  field  the  value  of  H.  Koch's 
Dachterrakotten  aus  Campanien  (Berlin  1912),  or  Kekule's  Terra- 
kotten  von  Sicilien  (Berlin,  1884)  has  proved  so  great,  that  I  venture 
to  hope  a  simple  catalogue  of  the  figurative  terra-cotta  revetments 
from  Etruria  and  Latium  in  the  earliest  periods  may  be  found  useful. 

My  thanks  for  permission  to  publish  photographs  are  due  to  the 
following  :  Dr.  Lacey  Caskey,  of  the  Museum  of  Fine  Arts,  Boston ; 
Dr.  G.  Q.  Giglioli,  of  the  Museo  di  Villa  Giulia,  Rome  ;  Dr.  Luce,  of 
the  University  Museum,  Philadelphia;  Professor  Allan  Marquand, 
Princeton,  N.J.;  Professor  R.  Paribeni,  of  the  Museo  Nazionale 
Rome ;  Professor  L.  Pernier,  of  the  Museo  Archeologico,  Florence  ; 
Miss  G.  Richter,  of  the  Metropolitan  Museum,  New  York ; 
Dr.  Sieveking,  of  the  Antiquarium,  Munich  ;  Mr.  Hamilton  Smith, 
of  the  British  Museum ;  Professor  Zahn,  of  the  Antiquarium,  Berlin. 


1692409 


vi  PREFACE 

For  help  and  information  I  am  greatly  indebted  to  M.  E.  Babelon, 
Professor  E.  Galli,  Dr.  Giglioli,  Dr.  Luce,  Professor  Mancini,  Signori 
Mengarelli   and  Nardini,  and,  above  all,  to  my  husband,  Dr.  A.  W. 
Van  Buren,  without  whose  never-failing  advice,  assistance,  and  encour 
agement  I  could  never  have  accomplished  my  task. 

E.  DOUGLAS  VAN  BUREN. 

HOME,  1920. 


CONTENTS 


PAGE 

PREFACE  v 


ANTEFIXJE 

INTRODUCTION .        .      .,..••       .        .3 

DIVISION  I — GORGON .     ,  .'      .      6 

II — SATYRS' HEADS  .         .        ..        ."      .        .,       t        ,      g 

,,     III — ACHELOUS  .        .        .        ,        .  '  ;  » :     .        .13 

„     IV — FEMALE  HEADS  .        .      •.;•:      .        .        ;        .        .     !^ 

„       V — SATYR  AND  M^NAD .        .24 

„     VI — ANGUIPEDE  DAEMON -\        .        .    26 

„    VII — HARPIES .        V        .         -27 

„  VIII — WINGED  BEINGS          .  28 

„     IX — CONVENTIONAL  MOTIVES      .        ?  ' 28 

AKROTERIA 

INTRODUCTION __.        ...        .31 

TYPE    I — GRIFFINS  AND  BIRDS       .         .        .        .        .        .        .        .36 

„      II— HORSES >     .        .        .        .38 

„    III— SEA  MONSTERS «        .        .        .39 

„     IV— GROUPS 40 

„       V— WARRIORS 4I 

„    VI— PALMETTES 47 

„  VII— UNCERTAIN  MOTIVE 47 


viii  CONTENTS 

PAOB 

KYMATION  MOULDING 47 

GUTTER-PIPES 48 

COLUMEN 48 

MUTULI 50 

SINGLE  SLABS 51 


FRIEZES 

INTRODUCTION      .        .        . 57 

TYPE    I — PROCESSION  OF  ANIMALS 59 

II — RIDERS  IN  SINGLE  FILE 59 

„     III — ARMED  RIDERS  IN  PAIRS 60 

„    IV — CHARIOT  AND  WARRIORS 63 

V — CHARIOTS  WITH  WINGED  HORSES     .        .        .        .        .        .  66 

„     VI — CHARIOT-RACES 69 

„  VII — ASSEMBLY  OF  DEITIES .        .  69 

„  VIII— SYMPOSIUM  .        . 70 

„     IX — DANCES 71 

X — UNCERTAIN  MOTIVE 72 


LIST    OF    ILLUSTRATIONS 

(At  evd  of  Volume) 

CANDELABRUM,  BRITISH  MUSEUM PL.  I,  FIG.  i. 

SMALL  BRONZE,  METROPOLITAN  MUSEUM       .         .         .         .         .          „  „  ,,2. 

ANTEFIX,  GORGON,  SATRICUM,  I,  i                 .         .         .         .         .           „  II,  „  i. 

,,             ,,         CAERE,  I,  i              ......          ,,  ,,  ,,  2. 

ROME,  I,  v              „  „  3. 

„             ,,         UNCERTAIN  PROVENANCE,  I,  viii      .         .         .          ,,  „  ,,4. 

,,        SATYR'S  HEAD,  SATRICUM,  II,  i    .                   .         .         .  „  III,  „  i. 

FALERII,  II,  i ,.  „  2. 

SATRICUM,  II,  iii „  „  „  3. 

ROME,  II,  iii.                  .          .         .         .  „  „  „  4. 

FALERII,  II,  iv     .         .         .         .  „  IV,  „  i. 

„               ,,             ,,        CAERE,  II,  vii       ......  „  „  2. 

,,              „            ,,       UNCERTAIN  PROVENANCE,  II,  ix     .         .  „  „  „  3. 

VEII,  II,  xi „  „  „  4. 

,,        ACHELOUS,  VEII,  III,  i „  V,  „  i. 

„      HI.  i                   „  „  2. 

,,        FEMALE  HEAD,  CAERE,  IV,  ia                .         .         .         .  „  VI,  „  i. 

„     (PROFILE),  IV,  ia           .  „  „  2. 

»     IV,  ib „  VII,  „  i. 

it                      it                 it               it      **.•   ^                «             .             .             •             .  ,,  ,,  ,,  2. 

it              a            it          it    •*•  •»  i*          .....  ,,  ,,  ,,  3- 

»»               >»            »»          a     AV,  iv           .         .         •         .         .  ,,  »  »  4* 

i,       (PROFILE),    IV,    IV VIII,  „  I. 

„      PRAENESTE,  IV,  vii       .         .         .         .  „  „  „  2. 

„  CAERE,  IV.  viii  ....  „  „  „  3. 

,,  ,,  ,,  »  IV,  vui  .  .  .  .  •  ,,  ,,  ,,  4. 

„  SATRICUM,  IV,  v „  IX,  „  i. 

(PROFILE),  IV,  v .  .  . '  „  „  „  2. 

„  ,,  „  CAERE  (PROFILE),  IV,  viii  „  X,  „  i. 

,.  ROME,  IV,  ix „  „  2. 

„  ,,  „  PERUGIA,  IV,  x  .  .  .  .  .  „  XI,  „  i. 

„  „  „  PRAENESTE,  IV,  xi  .  .  .  .  „  „  „  2. 

„  „  VEII,  IV,  xii „  XII,  „  i. 

„  „  „  FALERII,  IV,  xiii  ......  „  „  2. 

„  ORVIETO,  IV,  xiv „  „  „  3. 

„  ,,  „  UNCERTAIN  PROVENANCE,  IV,  xv  .  .  „  „  „  4. 

„  „  „  CAERE,  IV,  xvii  ....  „  XIII,  „  i. 

„  „  „  SATRICUM,  IV,  xviii  ....  „  ....  2. 

„  „  „  "  ETRURIA,"  IV,  xviii  .  .  .  .  „  „  „  3. 

ix 


x  LIST    OF    ILLUSTRATIONS 

ANTEFIX,  FEMALE  HEAD,  LANUVIUM,  IV,  xx     .  PL.        XIV,  FIG.  i. 

,,               ,,            ,,      CHIUSI,  IV,  xxiv        ....  „  „  ,,    2. 

„        SATYR  AND  MSNAD,  SATRICUM,  V,  i  .         .         .         .  ,,  XV,  „    i. 

V   i  2 

,,             tin           a                >i           *  i  A  •          ...  ,,  ,,  ,,    *| 

ANTEFIXE,  SATYRS  AND  MONADS,  FALERII,  V,  ii                 .         .  „  „  „    3. 

ANTEFIX  HARPY,  SATRICUM,  VII,  i  ......  „  XVI,  „    i. 

AKROTERION,  BIRD,  FALERII,  I,  xi  .  .  .  .  .  .  ,,  XVII,  ,,  i. 

,,            WINGED  HORSE,  CAERE,  II,  i                 .         .         .  ,,  „  „    2. 

„             THREE-HEADED  D^MON,  ORVIETO,  III,  iv  ,,  XVIII,  ,,    i. 

,,             Eos  AND  KEPHALOS,  CAERE,  IV,  i        .         .          .  ,,  „  ,,2. 

„  WARRIORS,  FALERII,  V,  i  .  .  .  .  „  „  „  3. 

(REVERSE),  V,  i  .  .  .  „  XIX,  „  i. 

„                     „        (detail)  FALERII,  V,  i  .         .         .         .  „  „  ,,    2. 

„  AMAZON,  ROME,  V,  ii  .  .  .  .  .  .  ,,  „  ,,3. 

COLUMEN,  WARRIORS,  SATRICUM,  i „  XX,  ,,  i. 

MUTULI,  SATRICUM,  ii „  „  „  2. 

SINGLE  SLABS,  MOUNTED  WARRIOR,  ROME,  i  .  „  XXI,  „  i. 

,,                 „                   „                      ,,             VlGNANELLO,  ill               .             .  „  „  „     2. 

,,            ,,      FEMALE  HEAD,  BOLSENA  (?),  vii  „  XXII,  „    i. 

„            ,,      HEAD  OF  ATHENA,  BOLSENA  (?),  viii  .         .         .  „  „  ,,2. 

FRIEZES,  PROCESSION  OF  ANIMALS,  STATONIA,  I,  i               .         .  „  XXIII,  „    i. 

a                           a                ii             it                      n              1,   1       ...  ,,  ,,  ,,     2. 

„         RIDERS,  STATONIA,  II,  i „  XXIV,  ,,    i. 

a                       it                    ii               H»    1        ««..««  a  a  ,,2. 

„         ARMED  RIDERS,  CAERE,  III,  i    .....  „  XXV,  „    i. 

it                     ii                n                 a         All,   1       .             .             .             .             .  ,,  ,,  ,,2. 

VELITR^E.  Ill,  ii  „  XXVI,  „    i. 

„            ,,            a          SATRICUM,  III,  iii  „  „  ,,    2. 

a            a            a               a             AH,  111       ....  ,,  ,,  ,,    3» 

FRIEZES,  AMAZONS,  PRAENESTE,  III,  v  „  XXVII,  „    i. 

HI,   V        .             .            .             .             .  „  „  ,,2. 

„       HORSES'  HEADS,  UNKNOWN  PROVENANCE,  III,  vi         .  „  XXVIII,  ,,    i. 

„       CHARIOT  AND  WARRIORS,  STATONIA,  IV,  i  .         .         .  „  „  ,,2. 

„                „        „          „              TOSCANELLA,  IV,  ii      .  „  XXIX,  „    i. 

„       WARRIOR  MOUNTS  CHARIOT,  TOSCANELLA,  IV,  iii          .  „  „  „    2. 

CHARIOT  SCENE,  CAERE,  IV,  iv „  XXX,  „    i. 

,.             »             ..            „      IV,  vii          ....  „  „  „    2. 

„       CHARIOTS  WITH  WINGED  HORSES,  PRAENESTE,  VI,  i      .  „  XXXI,  „    i. 

^             „           i,             „             „      VELITRJE,  VI,  iv      .  .  „  „  „    2. 

i>              a            »»              a              a       ROME,  VI,  iv     .          .  ,,  „  ,,    3* 

„       CHARIOT-RACE,  VELITR^E,  VII,  i          .         .         .         .  „  XXXII,  „    i. 

„       SCENES  OF  CHARIOTS,  SYMPOSIUM,  ETC.,  ROMB    .        .  „  „  ,,2. 


ANTEFIX^E 


ANTEFIX^ 

INTRODUCTION 

IN  the  publications  of  the  excavations  of  various  sites  in  Latium  and 
Etruria  the  antefixae  have  been  discussed  in  correlation  to  the  rest 
of  the  material  discovered ;  especially  in  the  Guida  del  Museo  di 
Villa  Giulia  (Rome,  1918),  Professor  Alessandro  Delia  Seta  has  given 
an  admirable  account  of  terra-cotta  revetments  in  Latium  and 
Etruria  as  a  whole,  the  collection  of  the  individual  pieces  and  the 
phases  of  development  of  this  branch  of  art.  For  purposes  of  con- 
venience the  number  of  the  object  as  quoted  in  his  catalogue  will 

always  be  cited  as  Delia  Seta  No. ,  with  a  further  reference  to 

the  third  edition  (1913)  of  Helbig's  Fuhrer  durch  .  .  .  Rom. 

Information  as  to  the  clay,  moulding,  baking  and  colouring  of 
the  Campanian  antifixse  has  been  most  fully  treated  by  H.  Koch, 
Dachterrakotten  aus  Campanien  (Berlin,  1912)  :  as  the  same  details 
apply  to  those  from  the  region  under  discussion  I  feel  myself  dispensed 
from  repeating  the  matter  here  since  I  could  add  nothing  to  his  able 
work.  The  clay  of  the  antifixae  from  Etruria  and  Latium  is  usually 
less  well  purified  than  that  from  Campania ;  it  is  coarse,  with  many 
grains  of  mica  and  black  particles,  and  necessitates  a  thick  coating 
of  strong  colours  to  hide  the  uneven  surface. 

Since  the  Campanian  antefixse  come  almost  exclusively  from  two 
sites  only,  it  is  easier  to  group  them  into  classes ;  whereas  in  the 
more  northerly  region  the  examples  are  from  many  localities,  each 
of  which  manifests  some  slight  peculiarity,  some  variation  which 
differentiates  the  local  specimens  from  those  found  in  other  places. 
Finishing  touches  applied  with  a  tool  prevented  any  monotony  of 
type  ;  nevertheless,  the  identity  of  certain  examples  from  widely 
separated  temples,  not  only  throughout  Etruria  and  Latium,  but 
also  in  Campania,  implies  that  moulds  were  carried  by  the  work- 
men whithersoever  their  work  led  them.  In  certain  instances,  as  at 

3 


4  INTRODUCTION 

Falerii  and  Caere,  moulds  were  found  near  temples,  where  there  are 
no  extant  antefixae  of  these  special  types  (cf.  Delia  Seta  Nos.  7245, 
7246)  ;  for  close  to  almost  every  temple  was  a  kiln  where  the  ante- 
fixae for  the  original  revetment  were  baked  and  subsequent  repairs 
executed. 

Adolphe  Reinach  (Bull,  du  Musee  hist,  de  Mulhouse,  xxxvii  (1913), 
pp.  35-135)  sought  to  explain  the  derivation  and  transmutation  of 
the  types  used  for  antefixae,  but  his  observations,  although  sug- 
gestive, are  not  always  borne  out  by  a  more  profound  study  of  the 
material.  Certain  types  are  found  both  here,  in  Magna  Graecia, 
and  in  Greece  itself;  others,  like  the  so-called  "  Juno  Sospita,"  are 
indigenous. 

The  name  "  Juno  Sospita ''  has  been  bestowed  upon  this  particular 
type  because  it  agrees  with  the  description  given  in  classical  literature 
of  the  goddess.  It  is  noteworthy,  however,  that  the  type  does  not 
occur  at  Lanuvium,  her  sanctuary  par  excellence.  It  may  be  argued 
that  this  was  because  she  was  there  more  worthily  represented 
by  a  cult  statue;  but  it  must  be  remembered  that,  if  correct,  this 
identification  would  be  unique  among  subjects  chosen  for  antefixae 
in  the  early  period.  A  divinity  was  never  so  portrayed;  the  lower 
ranks  of  the  hierarchy  abound — daemons,  harpies,  satyrs,  maenads  and 
female  heads  which  probably  answered  to  the  Korai  of  the  Athenian 
Acropolis,  and  typified  the  attendants  or  devotees  of  the  shrine. 

Owing  to  their  location  on  the  long  sides  of  the  roof,  the  antefixae 
occupy  a  subsidiary  position,  inferior  even  to  the  akroteria,  where 
it  was  permissible,  in  contradistinction  to  the  usual  griffins,  horses, 
or  palmettes,  to  represent  human  figures,  like  the  akroterion  of  the 
temple  of  Mercury,  Falerii,1  or  the  group  of  Eos  carrying  off  Kephalos 
from  Caere.*  Only  later  was  this  rule  relaxed,  and  the  TTOTVLO.  0r)pa>v 
graced  the  antefixae  of  innumerable  temples.  Throughout  the  sixth 
and  fifth  centuries  it  may  be  stated  as  an  invariable  rule  that  the 
deities  were  portrayed  within,  not  without,  the  temple,  for  even  the 
friezes  and  the  antepagmenta  of  the  columen  and  mutuli  reproduced 
battles  of  warriors  and  Amazons,  chariot-races,  hunting  or  banqueting 
scenes,  all  attributable  to  human  protagonists.  The  head  of  Achelous 
from  Veii  (Division  III,  i)  may  be  considered  an  exception;  but  he 
ranked  rather  as  a  hero  than  a  god,  and  so  does  not  infringe  the  rule. 

1  Delia  Seta  No.  12463  ;  J.R.S.,  iv  (1914),  p.  173,  fig.  21. 
»  A.Z.  1882,  p.  351,  pi.  15. 


INTRODUCTION  5 

In  this,  as  in  other  particulars,  such  as  the  absence  of  pediment 
groups,  the  early  Italic  temple  differs  from  the  Greek,  for  there  Apollo 
appeared  among  the  Muses  at  Thasos,1  Athena  slew  giants  on  her 
Acropolis/  and  Zeus  led  his  fellow  Olympians  against  the  Titans 
on  the  Treasury  of  the  "Siphnians"  at  Delphi.5  It  is  possible, 
therefore,  that  the  so-called  "  Juno  Sospita"  type  symbolises  a  bevy 
of  maidens,  votaries  who  assimilated  themselves  to  the  goddess,  like 
the  maidens  of  Artemis  Brauronia ;  and,  just  as  the  daemons  and  satyrs 
protect  the  sanctuary  from  occult  ills,  so  a  cohort  of  these  warrior 
maidens  is  mystically  invoked  against  human  aggressors. 

The  subject  of  the  Satyr  and  Maenad  was  a  favourite  one,  and  is 
to  be  found  on  coins,  gems,  vases  and  especially  upon  the  applique 
bronze  attachments  upon  bowls,  cistce,  and  other  metal  objects.  It 
is  reproduced  in  an  antefix  found  at  Olympia,4  and  also  on  one  of  the 
metopes  of  the  temple  of  Assos.5  The  whole  series  of  poses  represent 
the  figures  of  a  ritual  dance.  The  first  movement,  the  invitation 
to  the  dance,  is  embodied  on  a  bronze  handle  where  the  satyr  (with 
equine  legs)  hastens  joyfully  towards  the  maenad,  who,  startled, 
springs  up  to  flee.8  The  maenad  has  almost  surrendered  in  the  group 
from  Rosarno  Medma,7  for  she  does  not  resist  the  satyr's  encircling 
arms.  But  the  final  phase  is  seen  in  the  small  bronze  where  the 
maenad  sits  enthroned  upon  the  shoulder  of  her  captor,8  who  has 
himself  been  captured,  for  passion  has  died  down  and  beauty  reigns 
triumphant. 

1  Perrot,  Hist,  de  I' Art,  viii,  fig.  153. 

*  Dickins,  Cat.  Acropolis  Mus.,  No.  631  ;   Brunn-Bruckmann,  Denkm.,  pi.  471. 
3  Perrot,  op.  cit.,  viii,  figs.  173-7;  Poulsen,  Delphi  (1920),  figs.  52-7. 

*  Olympia,  iii,  p.  38,  fig.  41. 

6  Perrot,  op.  cit.,  viii,  fig.  107. 

•  Guida  del  Mus.  Napoli,  fig.  82. 

7  N.S.  1913,  Suppl.,  p.  121,  fig.  167. 

•  Greek,  Etruscan  and  Roman  Bronzes,  Metropolitan  Mus.  (1915,  G.  Richter),  No.  62. 


DIVISION   I— GORGON 

TYPE  I 

Caere,  Coll.  Chigi,  Siena »  ;  Caere,  Florence  * ;  Satricum,  Delia  Seta 
No.  10213  • ;  Rome,  Comitium.* 

The  mask  is  almost  round,  in  very  low  relief,  and  separated  from  the 
base  by  a  narrow  "  neck-space  "  ornamented  with  either  two  or  four  raised 
circles.  The  arched  brows  are  thick,  the  eyes  round  and  staring  between 
raised  rims  to  represent  the  lids.  The  nose  is  squat,  with  spreading  nostrils. 
The  coarsely  treated  ears  are  set  very  high.  The  mouth  is  a  concave 
depression  with  a  surrounding  plastic  contour  ;  the  tongue  protrudes 
between  two  rows  of  even  teeth,  which  in  some  cases  are  rendered  plasti- 
cally, in  others  are  only  painted.  On  the  forehead,  cheeks]  and  bridge  of 
nose  are  little  groups  of  three  undulating  lines  which  have  been  thought 
to  depict  tattoo  marks,1  but  probably  were  merely  intended  to  indicate 
wrinkles.  Over  the  forehead  small  single  locks,  slanting  inward  towards 
the  centre,  all  end  in  a  spiral  curl.  The  beard  consists  of  flat,  flame-like 
locks  which  leave  the  chin  and  cheeks  free.  From  behind  the  ears  two 
pearl-locks  on  either  side  hang  down  almost  to  the  base  and  end  in  a  double 
fringe.  The  head  is  surmounted  by  a  flat  band  which  terminates  on  either 
side  in  an  outward  curving  volute.  Above  this  is  a  thick  torus,  beyond 
which  spring  the  convex  flutings  of  the  shell.  The  small  base  is  decorated 
with  varying  motives  :  the  example  in  Siena  has  a  complicated  meander  ; 
that  in  Florence,  a  braid  pattern ;  the  specimens  from  Satricum  have  a 
base  plain  above  with  a  narrow  band  of  elongated  S  below,  or  chequers 
in  red,  black  and  cream.  V.  Century. 

Colouring. — Hair,  beard,  brows  and  eyelids  are  black  ;  eyes,  mouth, 
tongue,  and  :*  wrinkles,"  red  ;  eyeballs  and  teeth,  white.  The  torus  has 
diagonal  bands  of  red,  black  and  cream  ;  the  flutings  are  cream  outlined 
alternately  with  red  and  black. 

1  Pellegrini.  Studi  e  Materiali,  i,  p.  145,  No.  2  ;    Koch,  op.  cit.,  pi.  xxxiii,  2. 
1  Mus.  Arch.,  Nos.  72,  997. 

3  N.S.  1896,  p.  31,  fig.  9;  Helbig,  ii,  p.  350,  No.  1786 /.     Broken:    r.  side  of  shell  and  most 
of  base. 

4  N.S.  1900,  p.  143;  G.  Boni  in  Archaologia,  Ivii,  pt.  i,  p.  180. 

•  A.  Reinach,  Bull,  du  Musie  hist,  de  Mulhouse,  xxxvii  (1913),  p.  63. 

6 


GORGON  7 

TYPE  II 
Caere,  Coll.  Chigi,  Siena.1 

The  mask  is  practically  identical  with  the  previous  type,  save  that  the 
curls  over  the  forehead  lie  more  closely,  and  there  are  two  protruding 
tusks  at  each  outer  corner  of  the  mouth.  But  the  neck-space  is  wider 
and  is  completely  filled  by  a  small  torus,  from  which  depend  five  large 
tongues.  Below  them  a  flat  band  curves  down  to  the  base  in  the  middle 
and  ends  in  volutes  on  either  side.  The  outward  curving  volutes  of  the 
band  which  surrounds  the  head  are  set  very  high.  The  base  has  a  pattern 
of  double  meander.  V.  Century. 

Colouring. — Mask  as  before ;  small  torus  and  tongues  in  neck-space  in 
red  and  black. 

TYPE  III 
Caere,  Coll.  Chigi,  Siena.* 

The  face  is  less  round,  the  ears  are  larger,  the  tusks  more  prominent. 
The  hair  is  in  curls  over  the  forehead  and  in  three  pearl-locks  with  long 
fringed  ends  behind  each  ear.  The  beard  is  in  longer,  less  distinct  locks 
than  in  the  previous  types.  The  neck-space  has  two  narrow  semi- 
circular bands.  On  the  base  are  two  branches  springing  from  a  central 
palmette.  V.  Century. 

Colouring. — As  previous  types. 

TYPE  IV 

"  Etruria,"  Kopenhagen  *  ;  Monte  Alcino,  Leiden.* 

The  face  is  round,  the  eyes  large  and  staring.  The  tusks  are  enormous, 
and  the  tongue  covers  the  whole  chin.  The  locks  over  the  forehead  are 
longer,  the  beard  far  more  deeply  set  than  in  earlier  types.  Two  pearl-locks 
reach  to  the  base  on  either  side.  In  the  ears  are  round  earrings.  The  volutes 
of  the  torus  rest  just  above  the  base,  which  is  decorated  elaborately  with  a 
broad  border  stripe  in  three  parts  ;  a  small  red  line,  a  white  band  with  a  row 
of  red  dots,  and  in  the  middle  a  broad  red  meander,  the  space  filled  with 
a  black  cross  with  dot  fillings. 

Colouring. — As  previous  types. 

TYPE  V 
Rome,  Mus.  dei  Conservatory1 

The  mask  is  almost  round  ;  the  eyes  almond-shaped  between  thick  rims. 
The  mouth  has  a  plastic  contour,  tusks,  and  protruding  tongue.  The  hair 

1  Pellegrini,  op.  cit.,  No.  4  ;   Koch,  op.  cit.,  pi.  v,  5.     Broken  :   shell. 

2  Pellegrini,  op.  cit.,  No.  3;   Koch,  op.  cit.,  pi.  v,  7.     Broken:    left  corner  of  base. 

3  National  Museum,  Case  95,  No.  32 ;  Fiihrer  durch  die[Antikensammlung  Kopenhagen,  i,  p.  163  ; 
Koch,  op.  cit.,  pi.  vi,  i. 

4  Janssen,  Terrakotten  .  .  .  te  Leiden,  pi.  ii,  7,  p.  5  ;   J.  Six,  De  Gar  gone,  p.  30,  iii,  8*. 

8  Pinza,  Mon.  Ant.  Lincei,  xv,  p.  498,  fig.  150  ;  J.R.S.,  iv  (1914),  pi.  xxxiii,  2.     Broken  :  shell. 

3 


8 

over  the  forehead  is  in  two  layers  of  locks  curling  in  opposite  directions. 
The  beard  is  in  long  flame-like  strands,  the  hair  in  two  pearl-locks  on  either 
side.  The  parallel  undulated  lines  painted  on  the  forehead  represent 
wrinkles.  The  small  base  is  decorated  with  broken  meander.  Only  the 
outward-curving  volutes  of  the  band  which  surrounded  the  head  now 
remain,  as  all  the  rest  of  the  shell  is  broken.  VI.  Century. 

Colouring. — Hair,  beard,  brows,  and  pupils  black  ;  cheeks,  lips,  tongue, 
and  iris  red  ;  broken  meander,  red  and  black. 

TYPE  VI 
Caere,  Coll.  Chigi,  Siena.1 

The  large,  round  face  has  puffy  cheeks,  a  big  mouth,  with  pendent  tongue. 
There  are  no  tusks.  The  eyes  are  round  and  staring  under  heavy  brows. 
The  hair  is  in  a  single  row  of  curls  over  the  forehead,  and  there  is  no  beard 
and  no  shell. 

Colouring. — As  previous  types. 

TYPE  VII 

Vignanello,  Delia  Seta  No.  27403. 

The  mask  is  very  small  and  almost  round.  The  hair  is  in  short  spiral 
curls  over  the  forehead  ;  there  are  no  side-locks  and  no  beard.  The  brows 
arch  over  protruding  eyes.  The  nostrils  spread  widely,  the  mouth  is 
distended,  with  tusks  and  pendent  tongue.  V.  Century. 

Colouring. — The  clay  is  red,  and  covered  with  a  slip  which  gives  a  pale 
red  tint  to  the  flesh  ;  the  hair,  brows,  and  iris  are  black ;  cheeks,  lips,  and 
tongue  red  ;  eyeballs  and  tusks  white. 

TYPE  VIII 

Uncertain  provenance.     Delia  Seta  No.  25170  ;  Delia  Seta  No.  16396. 

The  mask  is  small  and  quite  round  ;  the  hair  is  in  scalloped  waves  over 
the  forehead,  but  there  are  no  side-locks  or  beard.  The  eyes  are  round  and 
prominent,  the  thick-lipped  mouth  is  closed,  but  the  tongue  protrudes  and 
almost  covers  the  chin,  and  at  each  corner  are  two  enormous  tusks.  Large 
disc  earrings  hang  in  the  ears,  and  on  the  head  is  a  crown  of  bosses.  End  of 
the  VI.  Century. 

Colouring. — The  flesh  tint  is  cream ;  the  hair,  mouth,  tongue,  iris,  and 
crown  are  red  ;  pupils  and  circle  round  iris,  black ;  eyeballs  and  tusks  white. 

TYPE  IX     . 
Veii,  Mus.  Villa  Giulia. 

The  head  is  in  the  shape  of  a  dramatic  mask  with  hollow  mouth.  The 
hair  is  in  small  scallops  over  the  forehead,  and  there  is  no  beard.  The 

»  Pellegrini,  op.  cit.,  p.  144,  No.  I. 


SATYRS'   HEADS  9 

conventionalised  eyebrows  form  thick  ridges  above  large  round  eyes.  The 
immense  gaping  mouth  is  embedded  in  rolls  of  flesh.  There  are  two  variants 
among  these  antefixae  from  the  same  site  which  are  alike  in  general  form, 
but  vary  in  details.  In  the  first  the  teeth  are  painted  as  an  even  row,  and 
the  pointed  tongue  protrudes.  In  the  second  the  teeth  are  plastically 
rendered,  uneven  and  pointed,  with  four  small  tusks  in  place  of  eye-teeth  ; 
the  tongue  protrudes  ;  but  here  the  eyes  are  smaller  and  crossed,  and  there 
is  a  semicircular  band  in  the  neck-space.  All  around  the  face  writhe  large 
serpents  in  such  high  relief  that  they  are  almost  in  the  round.  The  shell  is 
exceedingly  curved,  and  is  composed  of  long,  narrow  flutings.  V.  Century. 
Colouring. — Hair,  brows,  eyes,  black  ;  tongue,  red  ;  teeth,  and  balls  of 
eyes,  white  ;  serpents,  brown  with  black  markings  ;  shell  with  flutings 
alternatingly  red  and  black  divided  by  white  ridges. 

Unidentified. — Ardea,  Coll.  Campana,  Cat.,  iv,  p.  25,  No.  22  :  "  Large 
antefix  with  Gorgon  and  traces  of  colour."  "  Etruria,"  Antiquarium, 
Miinchen  (1901,  Christ),  p.  24:  "Italic  antefixes  ;  in  the  middle  of  the 
palmette  framing  a  Gorgoneion  or  animal." 

DIVISION   II— SATYRS'   HEADS 
TYPE  I 

Satricum,  Delia  Seta  No.  10250  ;  Uncertain  provenance,  Mus.  Nazionale, 
Rome  ;  Palatine  1  ;  Signia,  Delia  Seta  No.  19086  ;  Falerii,  Temple  of 
Mercury,  Delia  Seta  No.  12495  a  >*  Velitrae.* 

The  satyr's  head  is  set  upon  a  base  which  is  partially  covered  by  the 
beard.  He  has  a  wrinkled  forehead,  round,  protruding,  widely  opened  ^eyes 
with  heavy  arched  brows.  The  nose  is  squat,  the  lips  full  and  pouting, 
the  equine  ears  point  straight  upward.  The  hair  and  beard  are  represented 
by  a  plastic  mass  :  the  mouche  under  the  lower  lip  radiates  outward  and  the 
moustache  consists  of  two  separate  strands  ending  in  spirals.  Four  locks 
of  increasing  length  end  on  either  side  in  spirals,  the  two  longest  resting 
on  the  base.  On  the  head  is  a  wreath  of  ivy-leaves,  berries,  and  rosettes. 
The  base  is  adorned  with  a  pattern  of  meander.  VI.-V.  Centuries. 

Colouring. — The  hair  and  brows  are  black  ;  the  eyes  have  a  black  pupil 
and  red  iris,  and  the  lids  are  outlined  black  ;  lips,  cheeks,  beard,  and  rosettes 
red ;  mouche,  moustache,  and  berries,  yellow.  The  meander  on  the  base  is 
cream,  the  spaces  filled  with  red  above  and  black  below.  The  example 
from  Falerii  has  white  lines  and  flecks  painted  on  the  beard,  which  in  this 
case  is  black,  to  reproduce  the  glossy  effect. 

1  N.S.,  1907,  p.  453,  fig.  25  ;  J.R.S.,  iv,  1914,  p.  185.     Broken  :  all  the  upper  part  of  head. 
*  Helbig,  ii,  p.  337,  No.  1779  c.     Broken  :    all  the  central  part  of  the  face. 
3  N.S.,  1915,  p.  76.     Only  the  forehead  and  eyes  preserved. 


I0  ANTEFIX^E 

TYPE  II 

Satricum,  Delia  Seta  No.  10248  l  ;  Signia,  Delia  Seta  No.  19087. 

Forehead  wrinkled  ;  very  highly  arched,  plastic  brows  above  round, 
prominent  eyes.  Nose  squat,  lips  full  and  pouting.  The  hair  is  divided  on 
the  forehead  into  a  series  of  little  locks  in  relief  twisted  in  opposite  directions 
from  the  centre  of  the  forehead  towards  the  temples  ;  the  side-locks  hang  in 
a  solid  mass  to  the  base.  The  beard  is  plastically  indicated,  the  moustache 
is  in  single  straight  strands.  On  the  head  is  a  wreath  of  ivy-leaves,  berries, 
and  rosettes.  The  base  of  the  Satricum  example  is  too  obliterated  to  be 
decipherable  ;  on  that  from  Signia  a  large  prophylactic  eye  fills  the  space. 
VI.-V.  Centuries. 

Colouring. — Hair,  beard,  brows  and  eyes,  black  ;  eyeballs  and  wavy  lines 
on  beard,  white  ;  lips,  cheeks,  and  rosettes,  red. 


Satricum,  Delia  Seta  No.  10245  ;  uncertain  provenance,  Delia  Seta  No. 
25169  ;  Rome,  Mus.  dei  Conservatori.1 

This  type  is  larger  in  size  than  the  preceding  examples.  The  forehead  is 
wrinkled  ;  the  brows  are  less  acutely  arched  ;  the  eyes  are  almond-shaped 
and  protruding  between  thick  lids  outlined  with  black.  The  hair  over  the 
forehead  is  divided  into  little  spiral  curls  in  relief  twisted  in  the  direction  of 
the  temples.  The  beard  is  plastic,  but  broken  up  by  a  series  of  parallel 
undulating  furrows  to  portray  a  ripple.  The  straight  moustache  is  double. 
The  hair  descends  in  a  solid  mass  behind  the  ears  to  the  base.  On  the  head 
is  a  wreath  of  ivy-leaves  all  pointing  upward  and  with  interlaced  stems  and 
a  big  bunch  of  berries  below  each  ear.  The  base,  which  in  the  middle  is 
quite  covered  by  the  beard,  has  a  hammer  pattern.  VI.-V.  Centuries. 

Colouring. — The  hair,  beard  and  pupils  of  the  eye  are  black  ;  the  iris, 
lips,  and  cheeks  red  ;  the  moustache  and  berries,  yellow  ;  wavy  lines  painted 
on  beard  are  white  ;  hammer,  red  and  black.  The  beard  of  No.  25 169  is  red. 

TYPE  IV 

Falerii,  Temple  of  Juno  Curitis,  Delia  Seta  No.  2516.' 

A  small  head  with  wrinkled  forehead,  prominent  eyes,  and  rather  pointed 
nose.  The  hair  is  in  curls,  the  long,  plastic  beard  is  pointed  and  the  single 
moustaches  sweep  down  in  a  straight  line  from  the  upper  lip.  The  base  is 
quite  narrow,  and  the  design  is  now  obliterated. 

Colouring. — Hair,  beard,  moustache  and  lips,  red  ;  eyes  and  brows, 
black  ;  eyeballs,  white. 

1  Petersen.  Rdm.  Mitt.,  1896,  p.  176 ;  Helbig,  ii,  p.  350,  No.  1786  t. 

1  Pinza,  Man.  Ant.  Lincei,  xv,  p.  514,  fig.  157  ;  J.R.S.,  iv  (1914).  p.  182,  pi.  xxxii,  a. 

»  N.S.,  1887,  p.  97  ;  Helbig,  ii,  p.  345,  No.  1785  e. 


SATYRS'   HEADS  n 

TYPE  V 

Falerii,  Larger  Temple,  Delia  Seta  No.  7274  l  \  Smaller  Temple,  Delia  Seta 
No.  7202. 

Large  head  with  wrinkled  forehead,  thick  brows,  protruding  eyes.  The 
hair  and  beard  are  rendered  plastically  with  three  spiral  side-locks,  mouche, 
and  straight  single  moustache.  Six  large  five-petalled  rosettes  form  the 
wreath.  The  ears  are  less  upright  and  curve  round  the  lowest  rosettes. 
The  base  is  plain  above  and  with  a  hammer  meander  below. 

Colouring. — Hair,  beard,  moustache,  and  pupils  black ;  lips,  cheeks,  iris, 
mouche,  and  rosettes  red.  Wavy  white  lines  are  painted  on  the  beard. 

TYPE  VI 
Caere,  Coll.  Chigi,  Siena.8 

Vivaciously  modelled  head  with  low  forehead,  pointed  nose,  and  promi- 
nent cheek-bones.  The  lower  part  of  the  face  recedes.  The  eyes  are  flatly 
embedded,  almond-shaped,  and  large.  The  mouth  is  open  and  the  tongue 
protrudes  ;  the  equine  ears  are  set  high.  Compact,  thick  hair  lies  on  the 
head,  ending  in  spiral  curls  symmetrical  from  the  middle  outward  and 
falling  low  on  the  forehead.  The  beard  is  plastically  rendered,  with  lines 
radiating  outward  ;  the  single  moustache  is  straight.  No  base.  Koch 
considers  the  provenance  from  Caere  unlikely.  V.  Century. 

Colouring. — Few  traces  of  colour  remain. 

TYPE  VII 
Caere.1 

The  eyes  are  round,  prominent  and  slightly  oblique  under  heavy  brows. 
The  ears  are  set  high  and  are  very  pointed.  The  hair  is  in  a  double  row  of 
curls  over  the  forehead  and  a  waved  lock  descends  behind  either  ear  to  the 
base.  The  beard  is  in  detached  strands  and  the  moustache  in  three  separate 
strands.  The  mouth  is  open,  and  shows  the  teeth.  The  base  is  adorned 
with  broken  meander.  The  head  is  framed  in  a  shell,  concave  in  form  and 
ending  high  above  the  base.  It  is  decorated  with  five  palmettes  separated 
by  lotus  flowers,  below  whose  petals  the  shell  is  pierced  ;  the  whole  is  enclosed 
in  a  plain  band  as  border.  A  torus  surmounts  the  satyr's  head,  but  stretches 
only  from  ear  to  ear,  and  from  it  rise  five  triangular  points  which  produce  a 
crown-like  effect.  V.-IV.  Centuries. 

Colouring. — Hair,  moustache,  mouche,  and  outside  of  ears  are  red ; 
pupils,  eyelids,  brows,  and  beard,  black ;  eyeballs  and  inside  of  ears,  white. 

1  Helbig,  ii,  p.  340,  No.  1780  b  ;    Delia  Seta,  L'Arte  Figurata  (1912).  fig.  128. 
*  Pellegrini,  Studi  e  Maleriali,  i,  p.  145,  No.  5  ;   Koch,  Dachterrak.,  p.  70,  pi.  xviii,  i. 
3  Mon.  Inst.  Suppl.,  pi.  ii,  i  ;  Ny  Carlsberg  Cat.,  ii,  p.  29,  pi.  176,  3  ;  Fenger,  Le  Temple  Etrusco- 
Latin,  fig.  55  ;   Dunn,  Baukunst  der  Etrusker  u.  Romer  (2nd  ed.  1905),  p.  84,  fig.  94. 


12  ANTEFIX.E 

The  ground  of  shell  is  blue,  the  design  white  with  red  and  black  touches ; 
border  all  round  white.     Meander  of  base  red  and  black. 

TYPE  VIII 

Falerii.1 

The  hair,  beard,  ears  and  face  are  now  blackened  by  traces  of  fire.  The 
hair  and  beard  are  treated  plastically  ;  the  moustache  is  straight  and  very 
thick.  The  ears  are  placed  in  a  line  with  the  eyes,  and  are  very  large  and 
spreading.  A  torus  encircles  the  head  and  ends  some  distance  above  the 
base  in  five-petalled  rosettes.  Only  a  fragment  of  the  shell  now  remains. 
V.  Century. 

Colouring. — Hair,  beard,  and  eyes,  black ;  mouche  and  moustache, 
yellow  ;  shell,  traces  of  red  and  black. 

TYPE  IX 

Uncertain  provenance,  Florence  '  ;  Orvieto,  "  Temple  of  Jupiter."  * 

The  hair  is  in  rough  locks,  the  beard  and  moustache  long  and  shaggy. 

The  thick  brows  are  traced  right  across  the  root  of  the  squat  nose.    The 

mouth  is  wide  open  in  a  laugh,  showing  the  teeth.     V.-IV.  Centuries. 
Colouring. — The  hair,  beard,  moustache,  eyes,  outlines  of  lids  and  brows, 

are  black  ;  flesh,  deep  red. 

TYPE  X 

Narce,  Delia  Seta  No.  16028  ;  Veii,  Mus.  di  Villa  Giulia.  Uncertain  proven- 
ance, Berlin.4 

The  hair  is  in  three  rows  of  tight  curls  which  merge  into  the  beard ; 
below  the  mouche  the  beard  is  rippled  by  parallel  grooves  ;  the  long,  straight 
moustache  turns  down  at  an  acute  angle  on  either  side  of  the  thick,  open  lips 
which  leave  the  teeth  uncovered.  The  eyes  are  obliquely  set  under  heavy, 
frowning  brows.  The  pointed  ears  curve  round  the  contour  of  the  skull. 
The  hair  hangs  in  a  heavy  mass  to  the  shoulders.  A  torus  surrounds  the 
head,  and,  broadening  out  towards  the  centre,  unites  with  the  cap-like 
convex  band  surmounting  the  head..  The  former  is  adorned  with  broad 
bands  of  red  and  black  alternately  radiating  outward  ;  the  latter  with 
upright  lines.  Above  this  rises  the  shell.  The  base  displays  a  hammer 
pattern.  VI. -V.  Centuries. 

Colouring. — Hair,  beard,  brows,  and  fine  hair  depicted  on  the  inside  of 
the  ears,  are  black  ;  mouche,  moustache,  cheeks,  lips,  and  inside  of  ears,  red  ; 
eyeballs  white.  The  shell  and  torus  have  designs  in  red  and  black  on  a 
cream  ground. 

1  Ny  Carlsberg  Cat.,  ii,  p.  28,  pi.  176,  2.     Broken  :   left  side,  shell,  and  base. 

1  Mus.  Arch.  Rom.  IX,  Case  C. 

3  Ann.  Inst.,  1881,  p.  47. 

•  Panofka,  pi.  xlv.     Broken  :   r.  side  of  shell. 


ACHELOUS  13 

TYPE  XI 
Veii,  Mus.  Villa  Giulia. 

The  beard  is  plastic,  with  straight,  single  moustache  ;  the  hair  rises 
over  the  forehead  like  a  crest  or  diadem,  and  hangs  down  in  three  pearl-locks 
on  either  side.  The  forehead  is  unwrinkled,  and  the  eyes  widely  opened. 
A  torus  encircles  the  head,  and  behind  it  rises  the  marked  curve  of  the  shell 
which  quite  overshadows  the  head.  The  base  of  each  fluting  of  the  shell 
is  marked  by  a  half-circle  in  relief.  V.  Century. 

Colouring. — Hair,  beard,  moustache,  eyes  and  brows,  black  ;  leaves  of 
shell,  black  and  red  alternately. 

Unidentified. — Coll.  Beugnot,  Bull.  Inst.  1831,  p.  216  :  "  Some  coloured 
antefixae,  one  with  the  head  of  a  Seilenos  in  high  relief." 

TYPE  XII 

/ 

SEATED  SATYR 

Caere.1 

The  satyr  is  seated  full  face,  with  knees  wide  apart.  He  rests  his  left 
hand  on  his  knee  and  raises  his  right  with  the  palm  turned  outward.  His 
hair  is  in  long  curls  over  the  forehead ;  the  beard  is  plastic,  with  straight, 
single  moustache.  The  equine  ears  are  very  large,  and  stand  out  against  the 
background.  He  is  clad  in  a  lion's  skin,  the  mask  covers  his  head,  the  fore- 
paws  are  knotted  on  his  chest.  He  is  encircled  by  a  thick  torus  ending  in 
volutes  curving  outward,  and  beyond  this  rises  the  shell,  composed  of 
sixteen  small  flutings  divided  in  the  middle  and  each  resting  on  two  knobs. 
V.  Century. 

Colouring. — Flesh,  dark  red  ;  hair,  beard,  and  ears,  black  ;  lion's  skin, 
yellow  with  red  ears  and  muzzle  ;  torus  striped  diagonally  with  black, 
white,  and  red  ;  knobs  below  flutings  of  shell,  red  in  a  white  circle  ;  flutings 
alternately  red  and  black,  with  a  white  medial  line. 

DIVISION   III— ACHELOUS 

Veii,  Mus.  Villa  Giulia. 

The  head  is  that  of  a  mature  man  with  plastic  hair  and  beard,  straight, 
single  moustache,  and  mouche.  The  eyes  are  normal  in  size  and  correctly 
placed.  The  animal  ears  and  short,  thick  horns  are  the  usual  type  as  shown 
on  coins  and  gold  work.  The  head  is  surrounded  by  a  torus,  beyond  which 
rises  the  extremely  concave  shell.  The  back  of  each  fluting  of  the  shell  is 
marked  by  a  disc  outlined  with  cream.  There  is  a  variant  of  this  type  which 

1  Ny  Carlsberg  Cat.,  ii,  p.  26,  pi.  174,  2  ;   and  pendant,  No.  1208. 


i4  ANTEFIX.E 

is  identical,  save  that  the  beard  is  in  crinkled  strands  with  straight  single 
moustache  and  the  hair  over  the  forehead  in  tight  curls.  V.  Century. 

Colouring. — Hair,  beard,  moustache,  eyebrows,  and  horns,  black ;  shell 
with  flutings  of  red  and  black,  alternately  with  white  ridges. 

DIVISION   IV— FEMALE   HEADS 

TYPE  I 
Caere.1 

The  heads  are  moulded  directly  on  the  master  tile.  The  features  are 
heavy,  with  round,  staring  eyes,  arched  brows,  large  ears,  a  straight  mouth 
with  full  lips  and  a  firm  round  chin.  This  type  may  be  subdivided  into  three 
groups  according  to  slight  variations  in  the  size  of  the  heads  and  the  treat- 
ment of  the  hair. 

(a)  Hair  parted  and  smoothed  down  over  the  head  producing  a  cap-like 
effect :  it  hangs  in  a  solid  mass  on  either  side  of  the  neck.  The  ears  are 
very  large,  and  disc-earrings  were  apparently  painted  on  the  lobes.  The  lips 
are  parted,  but  there  is  no  smile.  VI.  Century. 

Colouring. — Cream  slip  ;   hair,  black.     No  further  traces  of  colour. 

(b)  Caere.1 

The  face  is  more  oval,  with  enormous  ears,  bulging  eyes  surrounded  by 
thick  rims,  and  a  small,  bow-shaped  mouth.  The  hair  is  in  a  solid,  unparted 
mass  above  the  forehead,  and  ends  in  small,  tight  scallops. 

(c)*  The  hair  is  parted  and  waved  back  in  scallops  over  the  forehead  ;  behind 
the  ears  it  hangs  down  in  two  heavy  masses,  the  first  attempt  at  the  later 
side-curls.  In  the  large  ears  are  disc-earrings  treated  plastically  in  relief 
and  embellished  by  a  painted  design  which  varies  in  the  different  examples. 
The  eyes  are  indicated  by  a  slight  swelling  on  which  was  painted  the  round 
iris  between  heavily  painted  lids.  VI.  Century. 

Colouring. — Cream  slip  ;  hair,  eyes,  brows,  eyelids,  black  ;  lips  and 
pattern  of  earrings,  red. 

( d)  Caere  • ;  Vulci.1 

The  hair  is  divided  and  waved,  parted  in  long  parallel  grooves,  and  hangs 
down  in  a  double  mass  behind  either  ear.  The  disc-earrings  are  so  large 

1  Man.  Inst.  Suppl.,  pi.  iii,  4,  4  ;  Berlin,  A.Z.,  1871,  p.  123,  C.  4  ;  Philadelphia,  Univ.  Mus. 
MS.  1808,  1815  ;  A.J.A.,  xxiv  (1920),  pp.  29  f,  figs,  i  and  2  ;  New  York,  Metr.  Mus.  G.  R.  1032,  1033. 

1  New  York,  Metr.  Mus.  G.R.  1035. 

3  Man.  Inst.  Suppl.,  p.  i;  Berlin;  Caere,  "Temple  of  Hera";  Philadelphia,  Univ.  Mus.  MS. 
1909,  1912,  A.J.A.,  xxiv  (1920),  p.  30,  fig.  3. 

•  Mon.  Inst.  Suppl.,  pi.  iii,  5,  5  a  ;  Berlin ;  Caere,  "  Temple  of  Hera  "  ;  Philadelphia,  Univ. 
Mus.  MS.  1810,  A.J.A.,  xxiv  (1920),  p.  31,  fig.  4  ;  New  York,  Metr.  Mus.  G.  R.  1028. 

8  Michaelis,  Strassburger  Antiken  (1910),  p.  20,  fig.  18  ;  Furtwangler,  Fuhrer  Arch.  Mus.  Strass- 
burg  (1897),  No.  1770. 


FEMALE   HEADS  15 

that  they  cover  the  lobes  of  the  ears.     Other  details  as  previous  example. 
VI.  Century. 

Colouring. — Cream  slip  ;  hair,  eyes,  brows,  eyelids  black  ;  lips,  pattern 
of  earrings,  red. 

TYPE  II 
Velitrae.1 

The  head  is  small,  with  the  hair  parted  and  waved  back  in  crinkled 
strands.  Above  each  temple  a  strand  is  turned  straight  up  above  the  hair 
(cf.  Type  XXIV).  The  hair  hangs  down  on  to  the  shoulders  in  a  solid  mass, 
but  is  enlivened  by  spiral  raised  lines  to  indicate  curls.  The  eyes  were 
painted  on  a  slight  almond-shaped  swelling,  rather  obliquely  set  ;  the 
slight  curve  of  the  mouth  produces  the  effect  of  a  smile.  There  are  two 
whole  examples,  and  fragments  of  at  least  two  others.  Clay,  greyish. 
VI. -V.  Centuries. 

Colouring. — Eyes,  black  ;   all  other  traces  of  colour  have  vanished. 

TYPE  III 

Uncertain  provenance,  Delia  Seta  No.  26750. 

A  small  head  with  details  painted  only,  not  modelled.  The  face  is 
oval,  the  eyes  round,  between  almond  lids  ;  the  lips  appear  to  be  parted, 
since  they  are  separated  by  a  groove.  The  whole  of  the  head  is  covered 
by  a  cap  (?)  which  entirely  covers  the  hair  and  is  prolonged  along  the  tile 
at  the  back.  In  the  ears  are  small  disc-earrings  painted  only.  VI.  Century. 

Colouring. — The  cap,  brows,  lids,  and  inner  markings  of  ears,  black  ; 
eyeballs,  white  ;  the  eyes  are  dark  red,  outlined  with  a  black  circle  ;  ear- 
rings red. 

TYPE  IV 
Caere.* 

The  face  is  oval,  the  mouth  curved,  with  full,  parted  lips  ;  the  chin  is 
firm  and  round.  The  eyes  are  indicated  by  an  almond-shaped  swelling 
between  thick  rims,  and  they  are  obliquely  set  beneath  strongly  plastic 
brows.  The  hair  is  in  irregular  scallops  over  the  forehead  and  hangs  in  a 
double  mass  on  either  side  of  the  face.  VI. -V.  Centuries. 

Colouring. — Cream  slip  ;  hair,  eyes,  and  brows,  black  ;  lips  and  necklace, 

red. 

TYPE  V 
Satricum,  Delia  Seta  No.  10194.* 

The  face  is  a  long  oval  ;  there  is  very  little  modelling,  for  details  are 
supplied  in  colours.  The  straight  brows  are  broadly  painted  above  round 

i  N.S.,  1915,  p.  76,  fig.  3. 

1  Ny  Carlsberg  Cat.,  ii,  p.  27,  pi.  175,  2  a,  2  b;  Philadelphia,  Univ.  Mus.  MS.  1811  ;  A.J.A.,  xxiv 
(1920),  p.  32,  figs.  5  and  6  ;  Caere,  "  Temple  of  Hera." 

3  Graillot,  Melanges  d'arch.  et  d'hist.,  1896,  pp.  140 ff.,  pi.  i  a;  N.S.,  1896,  p.  34,  fig.  5;  Helbig, 
ii,  p.  350,  No.  1786  E  ;  J.R.S.,  iv  (1914),  p.  167,  pi.  xxv,  2. 

4 


1 6  ANTEFIX^E 

eyes  between  oblique,  almond-shaped  lids.  The  small,  curved  mouth  has 
full,  parted  lips.  The  big  ears  have  disc-earrings.  No  hair  is  visible, 
except  the  straight  side-lock,  for  the  head  is  covered  by  a  veil  (?)  under 
the  diadem,  both  painted  with  elaborate  geometrical  patterns.  Round  the 
neck  is  a  necklace  with  pendants.  The  patterns  of  the  earrings  vary,  some 
are  rosettes,  others  a  black  cross  with  dot  fillings  on  a  red  ground.  VI. 
Century. 

Colouring. — Flesh,  cream  ;  hair,  eyes,  outline  of  lids,  black  ;  lips,  inner 
markings  of  ear,  necklace,  red  ;  eyeballs  white  ;  geometric  designs  in  red 
and  black. 

TYPE  VI 

Orvieto,  Palazzo  Faina,  Nos.  373,  I76.1 

The  details  are  expressed  by  colour  only.  The  hair  is  parted  and  waved 
back  in  sharply  defined  crinkled  strands.  The  mouth  is  curved  in  a  slight 
smile.  The  eyes  are  round,  between  almond-shaped  lids.  The  diadem  has 
a  pattern  of  broken  meander.  VI.  Century. 

Colouring. — Flesh,  white  ;  hair,  eyes,  outline  of  lids,  black  ;  meander 
in  red  and  black  ;  earrings,  red. 

TYPE  VII 
Praeneste  • ;   Orvieto.* 

Oval  face,  with  a  firm,  rounded  chin.  All  details,  eyes,  brows,  and  lids 
are  expressed  in  colour  only,  not  plastically.  The  eyes  are  round  between 
the  almond-shaped  lids ;  the  mouth  is  curved,  and  there  is  a  slight  swelling 
of  the  cheeks  which  almost  produces  the  effect  of  a  smile.  The  inner  details 
of  the  ears  are  indicated  by  a  red  line  only,  and  in  the  lobes  are  large  disc- 
earrings.  The  hair  is  in  scallops  over  the  forehead,  and  is  crowned  by  a 
double  diadem  adorned  with  vertical  lines.  VI. -V.  Centuries. 

Colouring. — Hair,  now  red,  was  once  brown  outlined  with  black ;  eyes, 
brows,  lids,  black  ;  lips  and  earrings,  red  ;  eyeballs,  white ;  diadem, 
vertical  lines  in  red  and  black  alternately  on  a  cream  ground.  Clay,  light 
red. 

TYPE  VIII 
Caere.' 

The  hair  is  waved  in  scallops  over  the  forehead,  and  three  waved  tresses 
hang  down  behind  either  ear.  The  eyes  and  brows  are  painted  only,  the 

1  D.  Cardella,  Mus.  Etr.  Faina  (1888),  No.  373. 

1  Mus.  of  the  American  Academy  in  Rome. 

8  Ashmolean  Mus.,  Oxford :   height,  cm.  8  by  10.5. 

•  Ny  Carlsberg  Cat.,  ii,  p.  26,  pi.  175,  I.  figs.  40,  41  ;  British  Mus.  Cat.  Terrac.,  B.  624  ;  Mus. 
Gregoriano,  Helbig,  i,  p.  276,  No.  437;  Mon.  Inst.  Suppl.,  pi.  ii,  4;  Philadelphia,  Univ.  Mus.  MS. 
1813,  1814  ;  A.J.A..  xxiv  (1920),  pp.  33  f.,  figs.  7  and  8  ;  New  York,  Metr.  Mus.  G.  R.,  1031 ;  Berlin, 
No.  6681,  13-17  ;  Caere,  "  Temple  of  Hera." 


FEMALE   HEADS  17 

mouth  is  straight,  with  full  lips.  The  large  ears  are  correctly  placed  and 
support  disc-earrings  of  various  designs,  eight  or  twelve  petalled  rosettes, 
a  series  of  dots  within  circles,  etc.  The  treatment  of  the  diadem  varies : 
in  the  first  series  it  consists  of  a  single  band  adorned  with  palmettes  separ- 
ated by  lotus-flowers,  the  curving  stems  linked  by  a  band.  In  the  second 
series  the  diadem  is  divided  into  two  bands,  the  lower  decorated  with 
dots  within  circles,  the  upper  with  a  wreath  of  laurel-leaves.  V.  Century. 
Colouring. — Hair,  brows,  brown  ;  eyes,  brown,  with  black  outline  and 
pupil  ;  lips  and  earrings,  red  ;  eyeballs,  white  ;  the  diadem  has  red  palm- 
ettes, lotus-flowers  in  white,  red,  and  black,  and  blue  band. 

/  '"•••• 

TYPE  IX 
Aracoeli,  Rome.1 

The  face  is  oval,  with  almost  straight  brows  above  plastic  almond  eyes. 
The  mouth  is  curved.  The  hair  is  in  scallops  over  the  forehead  and  is 
surmounted  by  a  diadem.  There  is  little  modelling,  for  the  artist  has 
worked  in  broad  planes  and  has  relied  upon  colour  to  give  animation. 
VI.-V.  Centuries. 

Colouring. — Hair  and  eyes,  black  ;  brows,  outline  of  lids,  brown  ;  dia- 
dem red,  with  hammer  pattern  in  black. 

TYPE  X 
Perugia.' 

The  face  is  oval,  with  rounded  chin.  The  eyeballs  are  indicated  by  a 
slight  swelling,  upon  which  the  round  eye  is  painted  between  almond  lids. 
The  brows  rise  sharply  from  the  root  of  the  nose ;  the  mouth  is  small  and 
straight,  with  full  lips.  The  hair  is  in  scallops  over  the  forehead  and  in  three 
pearl-locks  on  either  side.  The  lobes  of  the  big  ears  are  hidden  under 
large  disc-earrings,  and  the  diadem  is  divided  into  two  concave  bands.  A 
torus  surrounds  the  head  and  ends  in  volutes  curving  outwards.  From  this 
spring  the  flutings  of  the  shell.  VI.-V.  Centuries. 

Colouring. — Hair,  eyes,  outline  of  lids,  black ;  lips  and  earrings,  red  ; 
diadem  with  leaf-pattern  on  lower  band,  and  circles  on  the  upper  ;  the 
leaves  of  the  shell  are  red  and  black  alternately,  with  white  ridges. 

TYPE  XI 
Praeneste.1 

Very  small  head  set  in  a  shell  now  mostly  destroyed.  The  face  is  oval. 
The  eyes  are  indicated  by  an  oval  swelling  between  thick  rims.  The  mouth 

1  Mus.  Conservator! ;  Pinza,  Mon.  Ant.  Lincei,  xv,  p.  503,  figs.  153  a,  b  ;  J.R.S.,  iv  (1914), 
p.  183,  pi.  xxxii,  i. 

*  Museum  No.  368;  G.  Bellucci,  Guida  Mus.  Etr.  Rom.  (1910),  p.  118,  No.  204;  Fenger,  Le 
Temple  Etrusco-Latin,  figs.  37,  38  ;  Dennis,  Cities  and  Cemeteries  of  Etruria,  ii,  p.  432. 

1  Mus.  dell '  Aerarium,  Palestrina. 


1 8  ANTEFIX.E 

is  small  and  straight.  The  hair  is  in  scallops  over  the  forehead  and  in  a 
solid  mass  over  the  shoulders.  The  double  diadem  rises  high  in  a  cap-like 
crown.  The  ears  are  large,  with  traces  of  small  disc-earrings  which  were 
painted  only.  The  head  is  surrounded  by  a  torus  which  ends  in  outward 
curving  spirals.  Beyond  this  is  a  broad  convex  band,  and  from  this 
springs  the  shell,  the  flutings  of  which  are  indicated  by  painted  curving 
stripes,  consisting  of  two  narrow  black  lines  between  broad  red  ones.  The 
pattern  on  the  base  has  almost  disappeared,  but  seems  to  have  been  a 
meander.  The  clay  is  reddish.  V.  Century. 

TYPE  XII 

Veii.1 

The  face  narrows  considerably  towards  the  chin,  which  is  bony  and 
protruding  in  structure.  The  eyes  are  formed  by  oval  reliefs,  upon  which 
the  round  iris  is  painted  between  heavily  outlined  lids.  The  nose  is  fleshy, 
with  somewhat  spreading  nostrils  ;  the  mouth  is  large  and  curved,  with 
full,  parted  lips.  The  hair  over  the  forehead  is  scalloped  and  hangs  down  on 
either  side  of  the  neck  in  two  waved  strands.  The  lobes  of  the  ears  are 
covered  by  disc-earrings  adorned  with  a  protruding  boss  in  the  centre  and  a 
circle  of  dots  round  the  edge.  The  diadem  is  ornamented  with  large  circles 
with  a  dot  in  the  centre.  A  thick  torus  encircles  the  head,  and  beyond  it 
spread  out  the  markedly  concave  flutings  of  the  shell,  each  fluting  quite 
separate  from  its  neighbour.  This  type  is  unusual,  however,  because  the 
root  of  the  flutings  is  covered  by  a  series  of  small  scallops.  VI. -V.  Cen- 
turies. 

TYPE  XIII 

Falerii,  Larger  Temple,  Delia  Seta  No.  7274.' 

The  face  is  very  small,  with  pointed  nose  and  chin.  The  eyes  are  almond- 
shaped  ;  the  mouth  has  full,  parted  lips.  The  hair  is  in  scallops  over  the 
forehead,  but  there  are  no  side-locks.  Disc-earrings  are  painted  on  the 
lobes  of  the  ears.  The  diadem  is  prolonged  behind  the  ears  in  a  flattened 
band  which  ends  in  outward  curving  spirals  on  a  level  with  the  shoulders. 
The  head  is  framed  in  a  circle  of  flat  discs  which  form  a  kind  of  shell.  End 
of  VI.  Century. 

Colouring. — Hair,  eyes,  outlines  of  lids  and  brows,  black  ;  eyeballs, 
white ;  lips  and  earrings,  red  ;  the  flat  band  is  cream  with  a  red  border, 
and  the  discs  are  cream  with  black  border  and  a  red  inner  circle. 

1  N.S.,  1919,  p.  27,  fig.  10. 

»  Delia  Seta,  L'Arte  Figurata  (1912),  p.  172,  fig.  128  ;  Helbig,  ii,  p.  340,  No.  1780  g. 


FEMALE   HEADS  19 

TYPE  XIV 

Orvieto,  Opera  del  Duomo  ;  Lanuvium,  British  Museum,  B.  619. 

Oval  face  with  firm,  cleft  chin  ;  the  nose  is  in  the  plane  of  the  forehead  ; 
the  plastic  brows  are  arched,  the  eyes  very  flat  between  thick  almond- 
shaped  rims.  The  mouth  is  straight,  but  a  depression  around  it  gives  the 
effect  of  a  smile.  The  hair  is  waved  in  thin  crinkled  strands,  and  on  the  head 
is  a  double  diadem,  the  lower  band  decorated  with  meander,  the  upper  now 
obliterated ;  large  disc-earrings  hang  in  the  ears.  The  shell  is  broken. 
VI. -V.  Century. 

Colouring. — Hair  and  brows,  brown ;  eyes  and  pattern  of  diadem, 
black  ;  lips  and  earrings,  red. 

TYPE  XV 

Orvieto,  Palazzo  Faina  No.  374  ;  Lanuvium,  British  Museum,  B.  618. 
Uncertain  provenance.  Antiquarium,  Munich.1 

The  face  is  oval.  The  hair  is  arranged  in  close  scallops  round  the 
forehead,  and  upon  it  rests  a  diadem  ornamented  with  chevrons.  There 
are  traces  of  disc-earrings.  The  head  was  set  in  a  shell,  but  both  examples 
are  so  much  damaged  that  details  are  hard  to  ascertain.  VI. -V.  Century. 

Colouring. — Hair,  brows,  and  iris,  black  ;  lips  and  pupils,  red  ;  chevrons 
on  diadem,  black  and  red  alternately. 

TYPE  XVI 

Falerii,  Smaller  Temple,  Delia  Seta  No.  7212. 

Small  head,  with  almond  eyes  between  thick  lids.  The  mouth  is 
straight.  The  hair  over  the  forehead  is  combed  down  in  a  straight  fringe. 
The  diadem  covers  the  head  like  a  cap,  or  polos,  and  behind  it  is  a  torus,  from 
which  radiate  the  flutings  of  the  shell,  which  is  now  almost  entirely  destroyed. 
End  of  VI.  Century. 

Colouring. — Clay,  red.     All  traces  of  painting  are  obliterated. 

TYPE  XVII 
Caere.1 

The  painted  brows  are  strongly  defined  above  round  eyes  in  obliquely 
set  almond  lids.  The  small  mouth  is  curved,  and  the  lower  lip  very  full. 
In  the  ears,  which  are  large,  and  placed  very  high,  are  small  earrings.  The 
hair  is  parted  and  waved  back,  and  the  head  is  covered  by  a  diadem  and  veil 
which  flows  down  behind  the  ears  to  the  base.  Round  the  neck  is  a  string 
of  large  beads,  and  the  dress  is  indicated  by  fine  lines  held  in  place  by  semi- 

1  Christ,  A  nliquarium  (1901)  p.  22,  No.  390. 

2  Mon.  Inst.  Suppl.,  pi.  iii,  2  ;   Ny  Carlsberg  Cat.,  ii,  fig.  43  ;   Pellegrini,  op.  tit.,  p.  145,  No.  8. 


20  ANTEFIX.E 

circular  bands.  The  head  is  framed  in  a  shell  bordered  by  a  plain  band 
within  which  are  palmettes  separated  by  lotus-flowers,  and  beneath  the  petals 
of  the  latter  the  shell  is  pierced  to  allow  a  play  of  light  and  shade.  The 
curve  of  the  shell  ends  high  above  the  base,  which  has  a  broken  meander. 
This  head  is  the  prototype  of  the  fine  1 1 1. -Century  type  illustrated  in 
Arch.  Zeit.  1872,  pi.  41.  Berlin,  No.  6681  ;  British  Museum,  B.  621.  V. 
Century. 

Colouring. — Hair,  brows,  eyes,  lids,  and  veil,  black  ;  lips,  earrings,  and 
diadem,  red  ;  necklace,  and  meanders  of  base,  red  and  black  alternately  ; 
dress,  dark  red.  The  design  of  the  shell  is  in  red,  black,  and  white  on  a  dark 
blue  ground. 

TYPE  XVIII 

Satricum,  Delia  Seta  No.  10201  l  ;  "  Etruria,"  British  Museum  B.  604. 
Uncertain  provenance.* 

The  brows  are  plastic,  the  eyes  almond-shaped,  and  very  flat ;  the  lids 
form  a  plastic  rim,  and  a  second  little  ridge  marks  the  juncture  of  the  lid 
and  brow.  The  large  mouth  is  open  in  a  faint  smile.  The  hair  is  in  a 
double  row  of  scallops  over  the  forehead,  and  two  thick  pearl-locks  hang 
down  to  the  base  behind  either  ear.  The  pattern  of  the  dress  varies,  and 
there  are  three  different  sizes  of  this  type,  the  smallest  differing  from  the 
other  in  having  a  tripartite  stepped  base  and  a  shell  which  reaches  only  to 
the  level  of  the  shoulders,  instead  of  to  the  base,  as  in  the  other  examples. 
The  head  is  encircled  by  a  flat  band  ending  in  outward,  curving  volutes 
which  infringe  upon  the  base.  Behind  this  there  is  a  torus,  from  which 
spring  the  recurved  flutings  of  the  shell.  The  base  has  a  pattern  of  double 
meander.  VI.-V.  Centuries. 

Colouring. — Hair,  brows,  and  eyes,  black  ;  lips,  painted  disc-earrings, 
and  pattern  on  dress,  red  ;  flutings  of  shell,  cream,  outlined  alternately 
with  red  and  black. 

TYPE  XIX 

Ardea,  Louvre,  Campana  5156  (90).' 

The  head  is  quite  small,  with  prominent  almond  eyes,  heavy  lids,  and 
straight  mouth  with  closed  lips.  The  hair  is  waved  over  the  forehead, 
and  three  pearl-locks  hang  down  to  the  base  on  either  side.  The  head  is 
encircled  by  a  torus,  behind  which  rises  an  elliptical  palmette  with  eleven 
convex  leaves,  the  whole  being  set  against  a  background  of  the  usual  concave 

»  Graillot,  op.  cit.,  p.  157,  fig.  6;  N.S.,  1896,  p.  44,  fig.  16;  Helbig,  ii,  p.  350,  No.  1786  i. 

•  Louvre,  Coll.  Campana,  Graillot,  op.  cit.,  p.  158,  fig.  7.     The  fact  that  this  antefix  formed  part 
of  the  Coll.  Campana  does  not  exclude  its  provenance  from  Etruria,  or  even  Satricum  itself,  as  there 
were  objects  from  Ardea,  etc.,  besides  those  from  Campania,  in  that  collection. 

*  Cat.  Mus.  Campana,  iv,  p.  25,  No.  27  ;   Koch,  op.  cit.,  p.  39,  pi.  vii,  3. 


FEMALE   HEADS  21 

shell,  the  last  fluting  of  which  on  either  side  lies  level  with  the  long,  high  base 
decorated  with  a  branched  pattern.     V.-IV.  Centuries. 

Colouring. — Hair,  eyes,  and  brows,  black  ;  leaves  of  palmette  and  shell 
outlined  alternately  red  and  black  ;  base,  red  pattern  on  cream  ground. 

TYPE  XX 

Lanuvium  *  ;    Comitium,  Rome  *  ;   Rome  (?).* 

A  large  head,  with  heavy  features  ;  narrow,  almond-shaped,  obliquely 
set  eyes  ;  closed  mouth,  with  full  lower  lip,  and  big  outstanding  ears  with 
disc-earrings.  The  hair  is  parted  and  combed  forward  in  narrow,  crinkled 
strands,  with  three  pearl-locks  on  either  side.  Round  the  neck  is  a  necklace 
with  a  pendant,  and  on  the  head  a  diadem  decorated  with  a  leaf  pattern. 
Above  this  is  a  torus  ending  in  double  volutes,  upon  which  rest  palmettes. 
Round  the  torus  is  an  open-work  honeycomb  pattern,  a  raised  band  with 
groups  of  three  chevrons,  and  an  outer  row  of  moulded  leaf-pattern.  V. 
Century. 

Colouring. — Hair,  eyes,  and  brows,  black  ;  lips  and  earrings,  red  ;  neck- 
lace and  design  of  diadem,  purple  ;  petals  of  palmette,  honeycomb,  chevrons 
and  moulded  leaves,  alternately  black  and  purple. 

TYPE  XXI 

"  Etruria,"  National  Museum,  Kopenhagen.4 

The  face  is  well  modelled  and  full  of  expression  ;  the  features  are  all 
correctly  placed,  with  no  sharp  transitions  of  the  planes.  The  hair  is 
smoothly  parted,  the  edge  slightly  waved.  Two  long  pearl-locks  on  either 
side  start  one  above,  the  other  below,  the  ear.  She  wears  a  diadem,  a 
necklace  with  three  pendants,  and  a  dress  with  a  frill.  Above  the  diadem 
a  short  torus  with  spiral  ends  supports  a  seven-petalled  palmette  shell  with 
small  petals  and  sharp  ridges.  From  the  shoulders  rise  a  lotus-flower  and 
leaf  which  both  curve  outward,  their  root  masked  by  a  rosette.  The  base 
is  short  but  very  high,  and  has  a  bold  pattern  of  broken  meander.  IV. 
Century.  This  type  is  identical  with  that  from  Capua,  Koch,  op.  cit.,  p.  56, 
and  the  provenance  from  Etruria  is  open  to  doubt. 

Colouring. — Hair,  brows,  and  eyes,  black  ;  lips,  diadem,  necklace,  and 
dress,  red.  Details  of  framing  in  red  and  black. 

1  N.S.,  1895,  p.  46 ;   British  Mas.  B.  605 ;  Archceologia,  liii,  pi.  vii ;    Delia  Seta  No.  3798,  pi. 
xlviii ;  Lanuvium,  Museum  ;  private  possession. 

1  N.S.,  1900,  p.  307,  fig.  ii  ;  J.R.S.,  iv  (1914),  p.  186.     Broken  :  all  the  upper  part  to  chin. 

3  Delia  Seta  No.  25214.     Broken  :   left  side  and  all  the  shell. 

4  Fuhrer  durch  d.  Antikensammlung,  p-  163  ;    Koch,  <»/>.  cit.,  pi.  xxxiii,  i. 


22  ANTEFIX^ 

TYPE  XXII 
Caere.1 

The  face  is  delicately  modelled,  with  high  forehead,  prominent  eyes, 
and  small  mouth.  The  coiffure  is  very  complicated,  for  the  hair  is 
braided  across  the  head  and  round  the  ears,  forming  an  S-shaped  coil  held 
in  place  by  a  band  and  with  the  ends  hanging  free.  Upon  the  back  of  the 
head  is  a  low  diadem,  backed  by  a  broader  band  from  which  springs  a 
palmette  consisting  of  five  short  convex  leaves  with  broad,  high  ridges. 
The  lowest  rest  upon  the  lotus-leaves,  which  curve  outward,  held  in  place  by 
two  broad  upright  S  spirals  bound  in  the  middle  by  a  band.  The  small 
re-entrant  base  has  a  parti-coloured  hammer  pattern.  IV.  Century.  This 
head  is  also  found  again  among  the  types  from  Capua  (Koch,  op.  cit.,  p.  59), 
but  the  fact  that  in  two  different  collections  the  provenance  is  marked  as 
11  Cervetri  "  lends  weight  to  the  veracity  of  the  statement. 

Colouring. — Hair,  brows,  and  eyes,  black  ;  lips,  earrings,  and  dress,  red  ; 
details  of  framing,  red  and  black  on  a  cream  ground  ;  base,  white  hammer 
meander  on  red  ground. 

TYPE  XXIII 
Satricum,  Delia  Seta  No.  10228. 

Small  head,  roughly  worked  in  coarse  reddish  clay.  The  features  are 
very  heavy,  and  the  obliquely  set  eyes  protrude  from  thick  lids.  The  hair 
is  in  tight  curls  over  the  forehead,  while  three  waved  strands  hang  down  to 
either  shoulder.  Large  earrings  with  double  circles  hang  in  the  ears,  and 
on  the  head  is  a  diadem  of  discs.  Above  this  is  a  torus,  behind  which  rises 
a  shell  of  convex  flutings  separated  by  deep  grooves.  Beyond  again  are 
fragments  of  what  must  have  been  a  perforated  framing.  VI.  Century. 

Colouring. — No  traces  remain. 

TYPE  XXIV 
Monte  Amiato,  Chiusi.1 

A  head  imposing  "  for  its  size  and  skill."  The  features  are  heavy, 
with  almond  eyes  between  thick  lids.  The  mouth  is  small,  with  full  lip, 
and  there  is  no  smile  ;  indeed,  the  expression  is  one  of  rather  mournful 
dignity.  The  hair  is  elaborately  arranged  ;  it  i?  parted  and  crimped  over 
the  forehead,  but  a  broad  strand  is  turned  straight  up  on  either  side  above 
the  brows,  and  then  flows  down  on  the  shoulders  in  finely  crimped  locks. 
Above  the  head  is  a  crown-like  roll,  and,  beyond  this,  traces  of  a  heavy  shell. 
V.  Century. 

Colouring. — Hair,  eyes,  and  brows,  black  ;  lips,  red. 

1  Siena,  Coll.  Chigi,  Pellegrini,  op.  cit.,  No.  9  ;  Louvre,  Campana,  5172  (149)  ;  Martha,  L'Art 
£trusque  (1889),  p.  283,  fig.  191  ;  Koch,  op.  cit.,  pi.  xiii,  3. 

a  //  R.  Mus.  Arch,  di  Firenze  (1912,  Milani),  i,  p.  237,  pi.  Ixxxix,  i.  A  very  similar  head  from 
Corneto,  beautifully  preserved,  is  in  the  possession  of  Professor  Allan  Marquand,  Princeton,  N.J., 
and  eleven  other  similar  heads  are  in  the  Museum  of  Princeton  University. 


FEMALE   HEADS  23 

TYPE  XXV 
Tivoli,  Mus.  Villa  Giulia. 

A  small  head  with  eyes  summarily  modelled  between  outlined  lids.  The 
mouth  curves  slightly,  but  the  lips  are  closed,  and  there  is  no  smile.  The 
hair  is  in  a  straight  fringe  over  the  forehead  and  in  five  locks  on  each  side. 
She  wears  a  necklace  and  a  veil  or  band  over  her  head,  partly  covered  by  a 
sakkos  which  is  well  preserved  behind.  VI.— V.  Centuries. 

Colouring — The  flesh  is  dead  white  ;  the  hair,  eyes,  brows,  and  lids, 
black  ;  lips  and  veil,  red  ;  sakkos,  white  with  chequer  pattern  in  red  and 
black  ;  beads  of  necklace,  red  and  black  alternately. 

TYPE  XXVI 

Uncertain  provenance,  Mus.  Nazionale,  Rome. 

The  face  is  oval,  with  almond  eyes  obliquely  set,  small  curved  mouth, 
which  gives  the  effect  of  a  smile,  hair  in  scalloped  waves  over  the  forehead 
and  three  crinkled  locks  on  either  shoulder.  She  wears  small  disc-earrings, 
a  necklace,  and  a  veil  or  band  partly  covered  by  a  sakkos.  VI.— V.  Centuries. 

Colouring. — Hair,  eyes,  and  brows,  black  ;  lips,  earrings,  necklace  and 
veil,  red  ;  sakkos,  cream. 

TYPE  XXVII 
"  JUNO  SOSPITA  " 

Satricum,    Delia   Seta    No.    10229  ff1  ;     Signia,    Delia   Seta    No.    19088  ; 
Antemnae  *  ;   uncertain  provenance  *  ;   Norba  *  ;   Caere. 

The  type  is  always  identically  represented,  but  there  are  two  sizes 
which  sometimes  both  occur  among  the  revetments  of  a  single  temple. 
The  face  is  oval  with  sharply  arched  brows  and  round  eyes  between  out- 
lined almond  lids.  The  mouth  is  straight,  the  eyes  large  and  outstanding. 
Behind  each  ear  four  locks  hang  down  to  the  base,  and  round  the  neck  is 
a  painted  necklace  with  pendants.  The  helmet  covers  the  head  and  has  a 
diamond  sign  painted  in  the  centre  of  the  forehead  ;  it  is  surmounted  by 
a  goat's  skin,  the  face  cut  away,  but  the  ears  and  horns  standing  out  like 
a  crest.  Behind  this  there  is  a  broad  band  with  painted  designs  set  against 
the  semicircular  concave  background.  The  base  has  a  meander  pattern. 
V.  Century. 

Colouring. — Hair,  eyes,  brows,  lids,  and  helmet,  black  ;  necklace,  lips, 

1  Petersen,  Rom.  Mitt.,   1896,  p.  17,  No.  4  ;  Helbig,  ii,  p.  350,  No.  1786  h  ;  A.  Reinach,  Bull. 
Mus.  hist,  de  Mulhouse,  xxxvii  (1913),  pp.  63  f. 

*  N.S.,  1887,  p.  68. 

3  Delia  Seta  No.  26745  ;  Berlin,  Panofka,  Terrak.  d.  Kgl.  Mus.,  pi.  x  ;  Rome,  Mus.  Nazionale  ; 
Campana,  Cat.  Mus.,  iv,  p.  6,  Nos.  105,  108. 

*  N.S.,  1901,  p.  547,  fig.  28. 

5 


24  ANTEFIX^ 

and  inside  of  goat's  ears,  red  ;  goat's  skin,  yellow  ;  background,  red  design 
on  cream  ground  ;  base,  cream  meander,  the  spaces  filled  with  red  above 
and  black  below. 

DIVISION   V— SATYR  AND   M^NAD 
TYPE  I 

Satricum,  Delia  Seta  Nos.  10255-10269*;  Falerii »  ;  Falerii,  Temple 
of  Mercury,  Delia  Seta  No.  1 2468  *  ;  Falerii,  Smaller  Temple,  Delia 
Seta  No.  7216';  Lanuvium  •  ;  Rome,  Island';  Velitrae.T 
Of  this  group  there  are  nine  combinations  from  Satricum  alone,  and 
the  composition  could  be  endlessly  varied,  for  it  embodies  the  phases  of  a 
ritual  dance,  the  approach,  courting,  pursuit,  and  capture  of  the  maenad. 
In  the  examples  from  Satricum  the  satyr  has  a  plastic  beard  and  hair 
which  hangs  down  in  a  heavy  mass  between  his  shoulders.  He  has  a  mouche 
in  rays  and  a  double  straight  moustache.  He  is  crowned  with  ivy-leaves 
and  is  usually  nude,  but  occasionally  a  skin  is  knotted  by  the  forepaws 
on  his  chest.  Sometimes  he  holds  a  serpent.  The  maenad  has  hair  waved 
in  scallops  and  falling  in  a  heavy  mass  behind,  round,  painted  eyes  between 
heavily  outlined  lids,  lips  parted  by  a  groove,  a  thick  nose  and  large  ears. 
As  the  details  are  painted  only  there  is  scope  for  great  variety  of  expression. 
She  wears  a  diadem,  a  long  chiton,  and  sometimes  a  mantle,  and  frequently 
holds  the  tcp6ra\a.  The  work  is  coarse,  but  effective.  The  satyr  follows 
the  msenad  with  hesitating  steps,  lays  his  hand  upon  her  arm,  is  astonished 
at  his  repulse,  attempts  to  seize  her,  while  she  tries  to  ward  him  off.  In 
the  group  from  the  Smaller  Temple  at  Falerii  the  couple  advance  amicably, 
the  satyr  lays  his  right  hand  upon  her  shoulder  and  holds  a  rhyton  in  his 
left,  whilst  she  places  her  left  hand  on  his  shoulder  and  holds  a  fruit  or  egg 
in  her  right.  Here  the  satyr  is  remarkable  in  having  equine  legs.  On 
one  antefix  from  Lanuvium  they  peer  eagerly  into  the  distance,  the  satyr 
holding  a  serpent  in  his  left  hand  and  screening  his  eyes  with  his  right 
hand,  an  action  which  recalls  the  phrase  VTTOO-KOTTOV  x*Pa>  preserved  from 
a  drama  of  ^Eschylus,8  with  an  explanation  that  this  movement  of  the 

1  N.S.,  1896,  p.  37,  figs.  io,  n  ;  Graillot,  Melanges  d'arch.  et  d'hist.,  1896,  pp.  144  ff,  pi.   ii; 
Helbig.  ii,  p.  351,  No.  1786  m. 

Ny  Carlsberg  Cat.,  ii,  p.  32,  pi.  179,  4. 

Bull.  Com.,  1911,  p.  65  ;   Helbig,  ii,  p.  337,  No.  1779  s. 

N.S.,  1896,  p.  38,  fig.  12  ;    Helbig  ii,  p.  341,  No.  1781  a. 

Furtwangler,  M.W.,  p.  250,  fig.  in   text;   Tomassetti,  La  Campagna  Romana,   ii,   fig.    58; 
Bri  ish  Mus.  Cat.  Terrac.,  B.  615,  D.  734-8.  746,  748  ;   Lanuvium,  Museum. 

N.S.,  1896,  p.  38,  fig.  13  ;  J.R.S.,  iv  (1914),  p.  189  ;   Helbig,  ii,  p.  216,  No.  1510. 

N.S.,  1915,  p.  76. 

Nauck,  Fragm.   Trag.  Gr.,  2nd  ed.,  fr.   339  (Hesychius,  s.v.   fnr6<TKoirov  x^Pa)  '•    with  fr.   79 
(Athenaeus,    xiv,    p.    629  f.)  ;    cf.    Hesychius,    s.v.    ffKdnrevudTu*  ;     Photius,    Lex.     s.v.    (rdc 
and  Pollux,  Onom.,  iv,  103. 


SATYR  AND   M^NAD  25 


hand,  &<nrep  ol  AirotrKoirowrei,  was  employed  by  satyr  sand  Pans  in  a  dance 
known  as  the  O-KOTTO?,  or  a-K^-rrevfjM.1  Before  them  gambols  a  panther 

Signer  Mengarelli  has  been  able  to  prove  that  these  groups  are  the 
product  of  a  very  limited  number  of  moulds,  probably  three  only,  because  the 
position  of  the  feet  and  trunks  is  identical  in  the  various  groups  The 
arms  and  heads,  however,  were  applied  separately,  thus  rendering  possible 
a  great  variety  and  apparent  changes  of  attitude.  In  some  cases  the  back- 
ground between  the  figures  was  cut  away,  in  others  it  was  filled  by  the 
satyr's  arm  ;  the  heads  are  bent  forwards,  backwards,  or  towards  each  other, 
but  the  trunks  remain  unaltered.  V.  Century. 

Colouring.—  Satyr  :  flesh,  red;  hair,  eyes,  brows  and  beard,  black; 
equine  ears,  cream  outside  and  red  within,  with  black  lines  to  denote  hairs  ; 
animal's  skin,  brown.  Mamad  :  hair,  eyes  and  lids,  black  ;  chiton  cream,' 
with  design  and  border  black  ;  red  inner  line  round  hem  and  along  border 
of  mantle.  Base  :  white  meander,  the  spaces  filled  with  black  above 
and  red  below. 

TYPE  II 

Falerii,  "  Temple  of  Mercury,"  Delia  Seta  No.  12468  ss.' 

Fragments  from  various  groups  of  satyrs  and  maenads  which  consti- 
tuted the  antefixae  of  the  temple.  The  best  preserved  remains  are  parts  of 
three  bodies  with  the  heads  of  five  maenads  and  two  satyrs.  In  one  group 
the  satyr  laid  his  hand  upon  the  maenad's  right  shoulder  and  drew  her  to- 
wards the  right.  She  turns  her  head  backwards  and  holds  a  large  object 
which  has  been  called  a  tympanon,  but  is  more  probably  a  platter,  as  every- 
thing carried  by  these  figures  is  a  utensil  for  a  feast  or  sacrifice. 

In  the  second  group  a  satyr  bends  forwards  or  hastens  to  the  left  (only 
the  upper  part  of  the  trunk  is  preserved),  and  holds  in  his  arms  a  full  wine- 
skin. 

The  third  antefix  shows  a  maenad  hurrying  to  right,  holding  a  bowl 
in  her  right  hand.  The  satyr  beside  her  (now  destroyed)  held  a  young 
wild  boar  head  downwards.  The  bristling  mane  of  the  animal  shows  the 
depression  in  the  small  of  the  back  characteristic  of  the  Ionic  cycle  of  art. 

Further  fragments  are  :  (a)  the  body  of  a  maenad  from  shoulder  to 
waist  ;  the  satyr  lays  his  hand  upon  her  right  shoulder  and  she  carries 
a  large  flower,  (b)  Torso  of  satyr  carrying  a  large  wreath,  (c)  Fragment 
of  satyr  with  a  lion's  skin  dangling  from  his  right  shoulder,  (d)  Three 
arms  and  one  hand  of  maenads,  (e)  Six  pieces  of  maenads'  drapery. 

The  maenads   have   long  chitons  with  ornamental  borders  and  designs. 

1  J.H.S.,  xiii  (1892-3),  pp.  315-8,  fig.  in  text.  Cf.  the  satyr  in  the  same  attitude  on  the  wall- 
painting  at  Pompeii,  P.  Herrmann,  Denk.  der  Malerei  des  Altertums,  pi.  34,  p.  45. 

*  Mengarelli,  Bull.  Com.  1911,  p.  64  ;  Petersen,  Arch.  Am.,  1902,  p.  51  ;  Graillot,  Mtlangts, 
d'arch.  et.  d'hist.,  1896,  p.  147  ;  Helbig,  ii,  p.  337,  No.  1779  e,  f. 


26  ANTEFIX.E 

They  wear  diadems,  but  the  hair  of  each  is  treated  differently  :  one  has 
her  locks  parted  and  waved  back  in  soft  strands  ;  another  has  horizontal 
waves  finely  crimped  ;  a  third  has  a  fringe  of  separate  little  locks  length- 
ening over  the  ears  ;  the  hair  of  a  fourth  is  divided  into  two  solid  masses 
over  her  forehead  ;  whilst  another  has  a  most  realistic  treatment  of  strands 
combed  loosely  back.  The  eyes  are  painted  on  a  slightly  almond-shaped 
swelling  between  thick  lids.  The  mouth  has  full  lips  which  turn  up  very 
slightly  at  the  outer  angles,  thus  giving  the  effect  of  a  smile.  The  so-called 
"  head  of  Athena  "  is  exactly  the  same  in  character  as  the  other  heads,  and 
the  headdress  is  too  damaged  to  prove  it  is  a  helmet. 

The  satyrs'  heads  are  extraordinarily  realistic,  with  a  bestial  leer  ex- 
pressed by  the  half-open  mouth  with  thick,  fleshy  lips.  The  wrinkled 
forehead  is  bald  and  crowned  with  a  wreath  of  ivy-leaves  pointing  straight 
upwards.  The  large,  pointed  ears  are  set  quite  upright  and  far  forward 
which  gives  a  very  alert  air  to  the  face,  which  is  enhanced  by  the  widely  open 
eyes.  The  beard  and  moustache  are  in  shaggy  locks,  worked  with  a  tool. 
Every  detail  of  these  heads  is  rendered  plastically,  eyes,  brows,  hair,  even 
the  wrinkles,  are  in  relief  ;  although  the  bodies  were  made  in  a  mould,  as 
may  be  seen  by  comparing  the  bodies  of  the  maenads  from  groups  one  and 
three  and  fragment  a  which  are  identical,  yet  the  heads  and  hands  were 
modelled  by  hand  and  worked  up  with  a  tool. 

Colouring. — Satyr  :  flesh,  dark  red  ;  eyes,  brows,  beard  and  moustache, 
black  ;  eyeballs  and  teeth,  white.  Maenad  :  flesh,  cream  ;  hair,  reddish 
brown  ;  eyes  and  brows,  black  ;  eyeballs,  white  ;  chiton  of  group  one,  red 
with  meander  in  cream  and  black  ;  maenad  of  group  three,  chiton,  cream, 
with  a  broad  red  line  edged  with  black  as  a  border.  Boar  :  black,  with  red 
and  black  mane. 

DIVISION  VI— ANGUIPEDE  DAEMON 

Satricum,  Delia  Seta  No.  323.' 

A  nude  man  whose  body  from  the  hips  is  changed  into  two  great  en- 
twined serpents  who  rear  their  heads  on  a  level  with  his  hips.  His  hair 
and  beard  are  plastic  with  mouche  and  straight,  single  moustache.  His 
nose  is  pointed,  his  eyes  protruding.  His  enormous  ears  spread  out  fanwise 
like  the  fins  of  a  fish,  and  behind  his  shoulders  rise  short,  scaly  wings.  His 
arms  are  bent  at  the  elbow  and  in  each  hand,  held  at  the  level  of  his  hips, 
he  grasps  an  object  which  has  been  interpreted  as  a  fish  or  thunderbolt. 
The  base  is  narrow.  V.  Century. 

.Colouring. — Hair,  eyes,  brows,  black  ;  flesh,  dark  red  ;  base,  white 
meander,  the  spaces  filled  with  black  above  and  red  below. 

1  Mengarelli,  Alii  del  Congresso  Internaz.  di  Scitnze  Storiche,  1903.  V.  pp.  267  5  ;  A.  Reinach. 
Bull.  Mus.  hist,  de  Mulhouse,  xxxvii  (1913),  p.  66,  and  note  I  ;  Helbig,  ii,  p.  350,  No.  1786  k. 


ANGUIPEDE   DAEMON  27 

DIVISION   VII— HARPIES 
TYPE  I 

Satricum,  Delia  Seta  No.  10233  ';   Vulci  • ;   Falerii,  Larger  Temple,  Delia 
Seta  Nos.  7291-7295. 

The  body  as  far  as  the  waist  is  that  of  a  woman,  but  the  lower  part  is 
that  of  a  bird.  The  face  is  oval,  with  thick  features,  a  very  round,  full 
chin,  prominent  almond  eyes  and  a  mouth  slightly  curved.  The  parted 
hair  is  gathered  back  in  a  heavy  mass  and  covered  by  a  veil  which  hangs 
down  the  back.  The  juncture  of  the  forms  is  masked  by  a  short  chiton 
with  elbow  sleeves.  From  the  waist  spring  four  wings,  two  curving  up- 
wards, two  downwards.  The  bird's  claws  are  drawn  up  against  the  body, 
leaving  the  fan-shaped  tail  as  sole  support.  The  position  of  the  arms  is 
not  always  alike  ;  in  the  example  from  Satricum  the  arms  are  bent  at  the 
elbow  and  the  hands  turned  palm  downwards  with  fingers  touching 
just  above  the  claws  in  what  is  evidently  a  ritual  gesture.  Two  specimens 
from  Falerii  have  the  arms  bent  at  the  elbows  and  raised  (hands  broken) 
as  if  they  grasped  the  long  curls  like  the  harpy  of  the  gold  ornament  found 
at  Capennori  (N.S.,  1893,  p.  413,  fig.  8)  :  the  other  is  identical  with  the 
Satricum  antefix.  The  Vulci  harpy,  on  the  contrary,  has  only  one  pair  of 
very  large  downward-curving  wings  which  spring  from  the  shoulders,  and 
the  arms,  bent  at  the  elbows,  are  extended,  bat-like,  against  the  wings. 
The  base  has  a  meander  pattern.  V.  Century. 

Colouring. — Hah",  eyes,  brows,  and  bird's  claws,  black  ;  lips,  chiton 
and  veil,  red  ;  wings  and  body  cream  with  red  and  black  markings  ;  base, 
white  meander  filled  in  the  spaces  with  red  above  and  black  below. 

TYPE  II 

Uncertain  provenance,  Delia  Seta  No.  18002.* 

The  harpy  wears  a  short  chiton  to  hide  the  juncture  of  the  upper  female 
body  with  the  lower  bird's  body.  A  long  curl  hangs  down  over  either 
breast.  With  each  arm  she  clasps  a  youth,  naked  but  for  dark  red  boots, 
supporting  them  on  her  hips  ;  with  the  bird's  claws  she  grips  a  leg  of  each. 
They  both  hold  the  wrist  which  supports  them  with  their  outer  hand,  and 
with  the  other  grasp  her  long  curl.  The  heads  of  all  three  are  broken. 
V.  Century. 

Colouring— Hair,  outline  of  nails,  border  of  chiton,  black;  chiton, 
red  ;  boots  of  youths,  dark  red  ;  feathers  indicated  by  imbrications  outlined 
black  with  a  red  dash  in  the  centre. 

i  Petersen,  Rom.  Mitt.,  1896,  p.  177  ;  Helbig.  ii,  p.  35°.  No.  1786  I. 

*  E.  Babelon,  Cabinet  des  Midaillcs,  1900,  p.  246  ;   Bull  Inst.,  1831,  pp.  198,  216. 

»  A.  Reinach,  Bull.  Mus.  hist,  de  Mulhouse,  xxxvii  (1913).  P-  67- 


28  ANTEFIX.E 

DIVISION  VIII— WINGED   BEINGS 
TYPE  I—"  NIKE." 

Uncertain  provenance,  Delia  Seta  No.  25172  (K).1     Broken  :  head  and  arms. 

She  proceeds  to  right,  clad  in  a  chiton  with  diplois  which  reaches  only 
to  just  below  the  knees.  On  her  feet  are  boots  with  long,  pointed  toes  and 
recurved  tops  from  which  spring  small  wings,  one  pointing  forwards,  one 
backwards.  A  pair  of  wings  curve  outwards  at  the  waist  from  below  the 
diplois.  This  figure  has  been  called  a  "  gorgon  "  from  analogy  with  other 
examples  with  winged  boots  ;  but  the  full  folds  and  draping  of  the  chiton 
suggest  that  this  "  Nike"  "  may  be  a  prototype  of  the  TTOTVIO,  Orjpwv,  a 
suggestion  further  encouraged  by  the  sixth-century  relief  from  Sardes,  where 
the  goddess,  with  wings  springing  from  her  feet  and  waist,  holds  two  lion 
cubs.1  VI-V.  Centuries. 

Colouring. — Chiton,  white,  with  red  and  black  stripes  and  black  border ; 
boots  and  wings,  red  ;  end  feathers,  red,  black,  and  white. 

TYPE  II — MALE  WINGED  FIGURES 

Uncertain  provenance,  Delia  Seta  No.  25171  (K). 

This  antefix  is  so  much  damaged  that  it  is  difficult  to  discern  details. 
He  stands  frontally  and  plays  the  syrinx.  Great  wings  from  the  shoulders 
form  a  background.  V.  Century. 

Colouring. — Traces  of  red  on  the  face. 

DIVISION   IX— CONVENTIONAL  MOTIVES 
TYPE  I — PALMETTES 

Satricum,  Delia  Seta  Nos.  10217  ff  ;  Lanuvium  ' ;  Spoleto  * ;  Rome, 
Palatine.1 

The  antefix  is  encircled  by  a  broad  plain  band  within  which  is  a  reversed 
palmette  in  relief,  from  the  base  of  which  spring  two  narrow  spiral  bands. 
A  chequer  pattern  adorns  the  base.  VI-V.  Centuries. 

Colouring. — The  ground  is  red,  the  palmette  in  cream  ;  chequer  pattern 
of  red  and  black.  The  example  from  Spoleto  was  painted  in  yellow  and 
red  on  a  cream  background. 

TYPE  II — ROSETTES 
Rome. 

"  In  a  drain  near  the  Tabularium  was  found  an  antefix  with  a  rosette, 
m.  0*16  in  diameter." 

1  P.  Ducati.  Rdm.  Milt.,  1912,  p.  257,  note  3  ;  Furtvrangler,  M.W.,  p.  253;  Helbig,  ii,  p.  284, 
No.  1671.  •  N.S.,  1903,  p.  196. 

•  G.  Radet,  La  Dtesse  Cybtbt  (1909),  pi.  I.  »  N.S.,  1907,  p.  542.  figs,  67,  68. 

•  N.S.    1891,  p.  133.  •  N.S.,  1876,  p.  138. 


AKROTERIA 


AKROTERIA 


THE  evidence  as  to  the  fictile  decoration  of  ancient  Italic  temples 
is  somewhat  confused.  The  early  writers,  who  considered  terra-cotta 
revetments  the  natural  adornment  of  a  sanctuary,  do  not  trouble 
to  explain  the  exact  position  of  every  slab  ;  consequently  their  vague 
allusions  have  given  rise  to  errors  and  misconceptions  among  scholars 
who  are  unacquainted  with  the  material  and  the  fuller  knowledge 
of  the  structure  of  an  Italic  temple  acquired  during  recent  years  by 
means  of  scientific  excavations. 

It  may  be  well  first  to  examine  the  literary  evidence  upon  the 
subject.  Cato  is  reported  by  Livy  (xxxiv.  iv.  4)  to  have  said  : 
Infesta,  mihi  credite,  signa  ab  Syracusis  illata  sunt  huic  urbi ;  iam 
nimis  mullos  audio  Corinthi  et  Athenarum  ornamenta  laudantis  miran- 
tisque  et  antefixa  fictilia  deorum  Romanorum  ridentis.  Tatian  (Or at. 
ad  Grace,  i)  claims  for  Italy  a  priority  over  Greece  in  the  art  of  making 
terra-cotta  figures. 

Pliny  (N.H.,  xxxv.  152)  states l  :  "  When  Damaratos  fled  from 
that  city  [Corinth]  to  Etruria  ...  he  was  accompanied  by  three 
potters,  Eucheir,  Diopos  and  Eugrammos  who  introduced  the  art 
of  modelling  into  Italy."  He  adds  (N.H.,  xxxv.  154)  :  "  Most 
highly  praised  among  modellers  were  Damophilos  and  Gorgasos ; 
they  were  also  painters,  and  united  both  arts  in  the  decoration  of  the 
temple  of  Ceres  at  Rome  near  the  Great  Circus,  placing  on  it  a  metrical 
inscription  in  Greek  to  say  that  on  the  right  hand  were  the  works 
of  Damophilos,  and  on  the  left  the  works  of  Gorgasos.  Varro  tells 
us  that  in  all  the  earlier  temples  decorations  in  the  Etruscan  style 
only  were  to  be  found  and  that,  when  this  temple  was  restored,  the 
ornamentation  of  the  walls  was  cut  out  and  framed  and  the  statues 
that  crowned  the  roof  were  dispersed." 

1  Jex-Blake  and  Sellers,  The  Elder  Pliny's  Chapters  on  the  History  of  Art  (London,  1896). 

6  3i 


32  INTRODUCTION 

Vitruvius  (m.  iii.  5)  confirms  the  account  of  the  decoration  : 
Ornanturque  signis  fictilibus  aut  <zreis  inauratis  earum  fastigia,  Tus- 
canico  more,  uti  est  ad  Circum  Maximum  Cereris  et  Herculis  Pom- 
peiani,  item  Capitolii.  The  temple  of  Ceres  was  vowed  by  Aulus 
Postumius  in  B.C.  493,  and  was  destroyed  b}'  fire  in  B.C.  31. 

Another  passage  from  Pliny  (N.H.,  xxxv.  157)  relates  :  "  The  art 
of  modelling,  again,  according  to  Varro,  was  developed  in  Italy,  and 
more  especially  in  Etruria,  and  Tarquin  the  Elder  summoned  an  artist 
called  Vulca  from  Veii  to  make  a  statue  of  Jupiter  for  the  Capitol. 
The  statue  was  of  clay  and  was  therefore  painted  red ;  the  four- 
horse  chariots  on  the  gables  of  the  temple,  which  I  have  mentioned 
so  often,  were  also  of  clay.  Vulca  further  made  the  Hercules  still 
known  at  Rome  as  'the  clay  Hercules.'"  (158),  "Effigies  of  clay 
still  exist  in  different  places,  while  gable  ornaments  in  clay  are  still 
to  be  seen  even  at  Rome,  as  well  as  in  provincial  towns."  This 
Hercules  cannot  be  absolutely  identified  with  the  "  Hercules  fictilis'' 
of  Martial  (xiv.  178). 

Elsewhere  (N.H.,  xxxiii.  3)  Pliny  mentions,  on  the  authority 
of  Verrius  Flaccus,  that  the  statue  of  Jupiter  used  to  be  painted 
every  year  with  minium,  a  statement  borne  out  by  Servius  (ad  Eel. 
vi.  62  ;  x.  27),  and  both  Ovid  (Fast.  i.  202  :  Inque  lovis  dextra 
fictile  fulmen  erat)  and  Juvenal  (xi.  116  :  Fictilis  et  nullo  violatus 
lupiter  auro)  mention  that  it  was  of  terra-cotta. 

In  N.H.,  xxviii.  16  Pliny  says :  Cum  in  fastigium  eiusdem 
delubri  praparatcz  quadriga  fictilis  in  fornace  crevissent,  an  omen  which 
foretold  the  future  greatness  of  Rome.  The  story  is  mentioned  again 
by  Pliny  (N.H.,  viii.  161),  by  Servius  (ad  JEn.  vii.  188),  by  Festus 
(p.  274  M.,  pp.  340-42  L.),  and  also  in  greater  detail  by  Plutarch 
(Poplic.  xiii.),  who  describes  the  reluctance  of  the  people  of  Veii  to 
give  up  the  chariots,  and  how  they  were  eventually  induced  to  do  so 
by  the  sad  omen  of  the  death  of  the  victorious  charioteer  thrown 
by  his  runaway  horses  by  the  Porta  Ratumena.  These  fictile  chariots 
were  replaced  in  296  B.C.  by  a  lovem  in  culmine  cum  quadrigis, 
apparently  in  bronze  (Livy,  x.  xxiii.  12). 

Cicero  (de  Divin.,  I.  x.  16)  informs  us,  cum  Summanus  in  fastigio 
lovis  opt.  max.  qui  turn  erat  fictilis  e  ccelo  ictus  esset;  and  also  (i. 
xliii.  98),  cum  in  Capitolio  ictus  Centaurus  e  calo  est. 

A  careful  examination  of  these  passages  shows  that  Pliny  does 
not  actually  state  that  Damophilos  and  Gorgasos  made  the  akroteria 


INTRODUCTION  33 

of  the  temple  of  Ceres,  as  Amelung  implies,1  or  the  terra-cotta  revet- 
,  merits  of  the  columns  as  reported  by  Walters.'  The  crmtce  parietum 
were  either  paintings  or  slabs  in  low  relief  and  the  information  that 
they  were  cut  out  and  framed  points  to  an  earlier  restoration,  because 
such  works  would  have  been  ruined  by  the  smoke,  if  not  actually 
calcined  in  the  destruction  of  31  B.C.,  and  would  not  have  been  worth 
saving  from  the  ruins. 

The  supposition  that  there  was  an  earlier  restoration  is  strengthened 
by  the  fact  that  Pliny  cites  Varro  as  his  authority.  Now  Varro  died 
at  an  advanced  age,  for  Jerome  (in  Eusebii  Chronica,  ed.  Schoene  II., 
Berlin,  1866,  p.  131)  states  that  he  was  born  in  B.C.  116  (a.  Abr. 
1901),  and  under  the  year  B.C.  27  (a.  Abr.  1990)  mentions  his  death, 
remarking,  M.  Terentius  Varro  filosofus  prope  nonagenarius  moritur. 
Yet  any  work  in  which  he  alluded  to  the  restoration  of  the  temple 
cannot  have  been  published  earlier  than  B.C.  30  if  it  really  referred 
to  the  destruction  by  fire  in  B.C.  31.  The  de  Re  Rustica  was  composed 
in  his  eightieth  year  according  to  the  preface.  The  Disciplinarum 
Libri  IX,  a  kind  of  encyclopaedia  of  the  Aries  Liberates,  in  the  opinion 
of  Ritschl,1  was  one  of  his  latest  works,  for  Book  VIII,  which  probably 
treated  of  Medicine,  seems  to  have  been  composed  in  the  eighty-third 
year  of  his  age,  B.C.  33  (Pliny,  N.H.,  xxix.  65).  Unless,  therefore, 
the  mention  occurred  in  Book  IX,  which  possibly  discussed  Archi- 
tecture, it  appears  more  likely  that  the  reference  was  in  some  pre- 
viously published  work,  and  described  an  earlier  restoration,  perhaps 
necessitated  by  minor  dilapidations,  but  conducted  in  a  methodical 
fashion,  for  the  works  of  Damophilos  and  Gorgasos  were  carefully 
cut  out,  framed  and  inset  into  the  walls  of  the  new  building.  Cer- 
tainly if  the  edifice  was  destroyed  by  fire  the  fastigia  would  have 
been  the  first  to  perish,  owing  to  the  collapse  of  the  roof,  whereas 
Pliny  speaks  of  them,  not  as  destroyed,  but  as  dispersed,  a  likely 
consequence  of  a  leisurely  renovation. 

Although  Pliny  tells  us  that  Eucheir,  Diopos  and  Eugrammos 
introduced  the  art  of  modelling  into  Italy,  this  cannot  be  taken  to 
mean  that  they  made  large  statues  in  high  relief  or  in  the  round, 
for  his  statement  is  qualified  by  his  later  account  of  the  prowess 
of  Vulca  from  Veii.  Tarquinius  Priscus  would  have  had  no  need 
to  summon  this  artist  if  the  workmen  who  had  accompanied  his 

i  Thieme-Becker,  Kiinstler  Lexikon,  viii,  p.  321  :    "  Damophilos." 

*  The  Art  of  the  Romans  (London,  1911),  P-  7- 

a  Schanz,  Gesch.  d.  Rom.  Lit.,  I,  2,  3rd  ed.,  p.  438. 


34  INTRODUCTION 

father  were  experts  in  the  job,  or  had  been  able  to  train  younger 
men  to  carry  out  the  work. 

The  excavations  at  Syracuse  and  Gela  have  shown  that,  long 
before  the  flight  of  Damaratos  to  Italy,  the  art  of  fictile  revetments 
flourished  in  Sicily.  It  is  highly  probable  that  artists,  after  touching 
at  such  points  in  Magna  Graecia  and  Campania  as  Caulonia,  Locri, 
Paestum  and  Cumae,  all  of  them  distinguished  in  recent  years  by 
important  finds  of  architectonic  terra-cottas,  established  themselves 
at  Veii  and  other  places  in  Etruria  and  there  founded  prosperous 
schools. 

It  is  obvious  from  the  various  passages  that  the  statue  of  Jupiter 
in  the  Capitol  was  a  cult  statue  and  the  Hercules  must  also  have  been 
an  anathema  or  detached  figure  within  the  temple  precinct.  The 
quadrigae  formed  the  lateral  akroteria  upon  the  roof  and  possibly 
the  figure  of  Summanus  embodied  one  central  akroterion  and  the 
centaur  the  one  at  the  other  end  of  the  temple.  It  is  remarkable 
that,  with  the  exception  of  Summanus,  a  subordinate  divinity,  none 
of  the  deities  are  represented  on  the  roofs  of  temples  in  the  earliest 
period.  Neither  is  there  an  instance  of  a  gorgon,  a  subject  found 
at  Corfu,  Athens,1  Syracuse,1  Selinus,1  Thermon,'  etc.  If  Professor 
Frothingham  is  right,1  and  there  is  really  a  connection  between  the 
gorgon  and  the  Great  Mother,  a  connection  to  which  many  details 
of  dress  and  attitude  seem  to  point,  this  would  account  for  the  reluc- 
tance of  the  builders  of  these  temples  to  place  the  gorgon  upon  the 
outside  of  the  edifice. 

There  were  considerable  structural  differences  between  the  Greek 
and  Italic  temples.  Recent  excavations,  whilst  confirming  the  accuracy 
of  Vitruvius'  statements  with  regard  to  roofing  and  roof  decoration, 
have  shown  that  the  Vitruvian  ground-plan  was  a  late  development, 
and  that,  in  the  earliest  examples,  the  length  was  greater  than'  the 
breadth.  Wiegand  has  given  an  admirable  description  of  the  con- 
struction of  the  Italic  temple  with  a  diagram  which  shows  clearly 
how  the  beams  were  arranged  in  conformity  with  the  description 
of  Vitruvius.' 

1  Brunn-Bruckmann,  Denkmdler,  pi.  457  ;   Schrader,  Arch.  Marmorskulptur,  fig.  7. 
1  Orsi,  Mon.  Ant.  Lincei,  xxv  (1919),  cols.  614-22,  pi.  xvi. 
8  Gabrici,  Atti  R.  Accad.  di  Palermo,  Serie  III,  xi,  pi.  ii,  i. 
*  Ant.  Denkm.,  ii,  pi.  52. 
B  A.J.A..  xv  (1911),  pp.  349-77- 

6  Ny  Carlsberg  Cat.,  ii,  pp.  1-18,  fig.  3  ;    Delia  Seta,  Mus.  di.  Villa  Giulia   (Rome,    1918),  pp. 
121-40,  gives  a  clear  exposition  of  this  difficult  subject. 


INTRODUCTION  35 

The  walls  were  of  sun-dried  brick,  the  roof  of  wood,  the  shafts  of 
the  columns  in  wood  or  clay,  and  these  have  all  perished,  leaving 
only  the  debris  of  the  fictile  decoration  to  enable  us  to  reconstruct 
the  various  parts.  Of  valuable  assistance  in  this  respect  are  the  small 
terra-cotta  models  of  temples,1  of  which  the  best  example  was  found 
at  Nemi.1  These  show  what  the  fictile  revetments  had  already 
demonstrated,  that  the  wooden  frame  of  the  roof  consisted  of  two 
slopes  resting  upon  and  overhanging  the  walls  of  the  cella  and  leaving 
a  triangular  space  both  in  front  and  rear.  This  triangular  space, 
framed  by  the  raking  cornice,  was  partially  filled  by  the  ends  of  the 
columen  or  ridge-pole,  and  the  mutuli  or  side-beams,  covered  by  fictile 
slabs  in  high  relief  and  also  by  a  line  of  antefixse  placed  along  the 
lower  edge.  The  primitive  temple  was  almost  certainly  prostyle, 
with  two  columns  araeostyle. 

The  gutter-pipes  may  be  compared  with  those  found  at  Larisa  in 
^Eolis,1  Ak-Alan  in  Pontus,*  and  the  temple  of  Athena  Cranaia  Elateia  •  ; 
they  are  more  evolved  than  those  found  at  the  early  temple  on  Ortygia 
at  Syracuse,1  and  are  not  a  common  feature  of  temples  in  this  region. 
More  frequent  was  a  kymation  moulding  with  a  hanging  fringe-like 
border  which  served  to  carry  off  the  rain-water,  as  at  Satricum.7 

The  greatest  problem  is  the  exact  position  of  the  single  slabs 
which  seem  complete  in  themselves;  perhaps  they  were  set  above 
the  door  after  the  fashion  of  the  Gordion  reliefs 8  which  also  have  a 
border  at  the  top  and  bottom  and  none  at  the  sides.  Originating 
as  a  single  slab  or  picture,  these  reliefs  seem  to  have  developed  into 
a  frieze  which  ran  along  the  front  wall  of  the  cella  high  up  above 
the  door  and  followed  the  contour  of  the  antce.  The  subject  chosen 
usually  seems  to  have  been  a  warlike  one,  an  armed  rider,  or  a  battle 
of  Greeks  and  Persians. 

i  Milani,  Mus.  Arch,  di  Fircnze,  pi.  cviii.  ;   Rosarno  Medma,  N.S.,  1913,  suppl.,  p.  69,  figs.  75  f, 
»  Rizzo,  Bull.  Com.,  1910,  pp.  281-321  ;  pi.  xii ;   1911,  pp.  23-61. 

3  L.  Kjellberg,  Uppsala  Universitets  Arsskrift,  1903,  pp.  90  ff ;  H.  Koch,  Rdm.  Mitt.,  xxx  (1915). 

p.  7. 

4  Macridy-Bey,  Mitth.  Vorderasi.  Ges.,  12  Jgg.,  1907,  heft  4,  p.  7,  pis.  xi,  xii. 

e  Pierre  Paris,  B.C.H.,  xi  (1887),  p.  54- 

8  Orsi,  Man.  Ant.  Lincei,  xxv.  (1919),  pis.  xx-xxii,  fig.  228. 

7  Delia  Seta  No.  10151  ;   Helbig,  ii,  p.  354.  No.  1786  w. 

•  G.  A.  Korte,  Jahrb.  d.  Inst.,  Ergdnzunsheft,  v  (1904),  pp.  160,  168,  figs.  145,  146. 


TYPE  I — "  GRIFFINS  AND  BIRDS  " 

(i)  Satricum,  Delia  Seta  No.  10191. l 

Fragments  of  the  underpart  of  the  body  and  breasts  of  a  griffin  or  sphinx 
with  palmate  wings.  The  fragments  are  too  damaged  to  be  reconstructed, 
but  they  belong  together  and  formed  part  of  one  of  the  lateral  akroteria 
of  the  temple.  VI-V.  Centuries. 

Colouring. — Body,  cream  ;  wings,  colour  almost  disappeared,  but 
the  end-feathers  were  apparently  painted  red  and  black. 

(ii)  Satricum,  Delia  Seta  No.  10236. 

Fragments  of  recurved  wings  with  the  feathers  rendered  plastically. 
Part  of  an  akroterion.  VI. -V.  Centuries. 

Colouring. — Feathers,  red  and  blue. 

(iii)  Straticum,  Delia  Seta  No.  10239. 

Fragments  of  the  wings  of  a  griffin  or  sphinx  which  formed  the  akroterion. 
The  feathers  are  painted  only,  not  moulded.  VI. -V.  Centuries. 

Colouring. — The  end-feathers  are  red  and  blue  alternately. 

(iv)  Falerii ;   Larger  Temple,  Delia  Seta  No.  7264.' 

The  headless  body  of  a  griffin  with  forelegs  extended.  The  feathers  on 
the  body  are  rendered  by  imbrications  pointing  upwards,  whilst  those 
on  the  wings  point  outward.  It  is  much  mutilated,  but  once  composed 
the  lateral  akroterion  of  the  temple.  Beginning  of  the  V.  Century. 

Colouring. — the  forelegs  are  cream  ;  the  imbrications  representing  short 
feathers  are  dark  red  with  a  light  red  outline  ;  the  ground  of  the  end  feathers 
is  cream  with  a  broad  black  stripe  alternating  with  a  thin  red  line. 

(v)  Falerii ;  Larger  Temple,  Delia  Seta  No.  7256.' 

This  apparently  forms  part  of  the  previous  number.  Two  slabs  of  the 
kymation  of  a  temple.  These  slabs  consist  of  three  elements  :  (a)  an  upper 

1  Rizzo,  Bull.  Com.,  1911,  p.  53,  note  I  ;   Helbig,  ii,  p.  351. 

*  Helbig,  ii,  p.  340,  No.  1780  o. 

*  Helbig,  ii,  p.  340,  No.  1780  a. 

36 


AKROTERIA  37 

band  of  fluting  which  curves  outward  at  the  upper  edge,  divided  from  the 
plain  band  below  by  a  small  fillet  painted  with  diagonal  lines  :  (b)  the  medial 
fascia  is  decorated  with  a  painted  guilloche  pattern  ;  (c)  a  torus  painted  with 
scale  pattern.  These  slabs  composed  the  angle  of  the  kymation,  and  over- 
lapping them  are  plastic  wings  which  belonged  to  a  griffin  forming  the 
lateral  akroterion.  VI. -V.  Centuries. 

Colouring. — Fluting,  cream  ground  with  dividing  lines  in  black  and 
broad  middle  lines  in  red  and  black  alternately  ;  guilloche  in  red  and  black. 

(vi)  Falerii  ;    Vignola,  sporadic  finds. 

Fragments  of  akroterion  with  the  right  shoulder  and  part  of  the  wing 
of  a  griffin.  The  feathers  are  rendered  plastically.  Fragments  of  the 
paws.  This  griffin  was  on  a  larger  scale  than  (iv).  VI.-V.  Centuries. 

Colouring. — No  traces  left. 

(vii)  Rome,  Palatine,  at  the  top  of  the  "  Steps  of  Cacus."  * 

Fragment  of  a  wing,  modelled  on  both  sides,  which  belonged  to  a  griffin 

or  winged  creature  forming  the  akroterion  of  a  building.    VI.  Century. 
Colouring. — Cream   ground  ;    feathers   with  traces   of  red   and  black. 

(viii)  Rome  ;  under  the  Church  of  S.  Francesco  di  Paolo,  Via  dei  Serpenti.1 
Fragment  of  a  semicircular,  slightly  concave  background  or  shell  upon 
which  are  the  feet  of  a  griffin  or  bird,  the  akroterion  of  a  temple.    V.-IV. 
Centuries. 

Colouring. — The  claws  are  reddish  browrn  ;  the  ground  of  the  shell 
is  cream  ;  a  fillet  separates  the  main  field  from  the  concave  border  which 
is  decorated  with  enclosed  palmettes  in  black,  the  second  and  fourth  leaves 
painted  red  ;  the  stems  are  black,  linked  by  a  red  band.  The  edge  of  the 
border  is  red  and  beyond  it  project  a  series  of  scallops,  each  one  detached 
from  its  neighbours  and  outlined  alternately  red  and  black. 

(ix)  Veii. 

Fragment  of  the  wing  of  a  griffin  or  bird  forming  the  akroterion.  The 
long  end-feathers  are  treated  almost  realistically  and  overlap  at  the  ends. 
VI.  Century. 

Colouring. — Ground,  cream  with  a  chequer  pattern  in  brownish  black  ; 
end-feathers,  brownish  black. 

(x)  Velitrse.' 

Mutilated  fragment  of  the  forequarters  of  a  griffin  or  sphinx,  one  of 
the  lateral  akroteria  from  the  archaic  temple  under  Sta.  Maria  delle  Stim- 
mata.  It  has  been  described  as  a  horse,  but  the  curious  semicircular 

i  N.S.,  1907,  pp.  273,  542,  fig.  69  ;  J.R.S.,  iv  (1914).  P-  l84- 

»  Bull.  Com.,  1896,  p.  190,  pis.  xii-xiii,  2  ;  N.S.,  1896,  p.  326  \  J-R-S.,  iv  (1914).  P-  190. 

3  N.S.,  1915,  p.  75,  fig.  I. 


38  AKROTERIA 

markings  on  the  flanks  apparently  denote  wings,  and  the  four  fragments  men- 
tioned as  the  horse's  tail  resemble  the  calyx  or  bud  of  a  flower,  but  might 
conceivably  be  the  pointed  tail  of  a  griffin.  To  this  belong  fragments  of  a 
left  wing  ;  the  feathers  are  indicated  in  relief.  The  clay  is  greyish  yellow. 
Height,  m.  0-43  X  0-28.  VI.-V.  Centuries. 

Colouring. — Cream  slip  with  semicircular  markings  in  cream  and  black. 
The  "  tail  "  is  coloured  red  and  black  on  cream  ground.  Wing,  cream 
slip  ;  colour  now  vanished. 

(xi)  Falerii ;    "  Temple  of  Mercury,"  Delia  Seta  No.  I2466.1 

Fragments  of  a  lateral  akroterion  with  the  body  of  a  bird  or  harpy 
(now  headless).  The  bird  has  apparently  just  alighted  upon  the  projecting 
angle  of  the  kymation,  for  its  feet  are  drawn  up  under  it  and  its  wings 
are  still  raised  and  not  yet  folded  against  the  body.  V.  Century. 

Colouring. — The  body  is  cream  ;  the  feathers  are  rendered  by  small 
imbrications  which  all  point  towards  the  tail  and  are  outlined  black  with  a 
red  dot  in  the  middle.  The  wing  feathers  are  also  imbrications,  outlined 
alternately  red  with  a  black  line  in  the  centre  and  black  with  a  red  line. 
The  base  is  cream  with  a  black  line  at  each  outer  edge  and  a  red  line  in  the 
middle. 

TYPE  II—"  HORSES  " 
(i)  Caere.1 

The  head  and  forequarters  of  a  winged  horse  which  formed  the  right 
lateral  akroterion  of  a  temple.  The  head  is  delicately  modelled,  with 
sensitive  nostrils  and  half-open  mouth  showing  the  teeth.  The  horse 
appears  about  to  spring  over  the  thick  torus  of  the  kymation  cornice  ; 
the  forelegs,  which  protruded,  are  broken  but  the  recurved  wings  stretched 
back  against  the  end  slab.  The  height  of  the  horse  is  m.  0-365  of  the  whole 
fragment,  m.  0-470.  V.  Century. 

Colouring. — The  head  and  neck  are  cream,  the  mane,  red  ;  the  little 
feathers  of  the  wings  are  indicated  by  imbrications  in  red  outlined  with 
cream  ;  the  long  end-feathers  are  in  two  rows,  the  inner  row  black  and 
cream  alternately,  the  outer  row,  cream  and  red.  The  torus  is  decorated 
with  large  imbrications  designed  lengthwise,  black  outlined  with  a  double 
cream  border. 

(ii)  "  Statonia  "  (Pitigliano).1 

A  small  lateral  akroterion  ending  in  a  horse's  head.  The  base  is  roughly 
modelled  to  resemble  the  horse's  chest  and  shoulders.  The  work  is  some- 

1  Helbig,  ii,  p.  337,  No.  1779  d. 

1  Mus.  Gregoriano  ;  Helbig,  i,  p.  276,  No.  437  ;  Dennis,  3rd  ed.,  Cities  and  Cemeteries  of 
Etruria,  ii,  p.  460. 

•  N.S.,  1898,  p.  436,  fig.  4  ;   Class.  Review,  xiii  (1899),  p.  329. 


AKROTERIA  39 

what  coarse ;  the  mouth  is  closed,  the  neck  thick.    Height,  m.  0-225  X  0-15 
VI.-V.  Centuries.     It  should  be  compared  with  the  youth  on  horseback* 
the  central  akrotenon  of  the  temple  of  Camerina  in  Sicily.1 

Colouring .—A  cream  slip  ;   all  traces  of  colour  have  disappeared. 

(iii)  Rome,  Palatine.2 

Found  at  the  bottom  of  a  well  at  the  top  of  the  "  Steps  of  Cacus,"  part 
of  the  hindleg  of  a  horse  in  full  relief  which  apparently  formed  the  akro- 
terion  of  a  small  temple.  It  is  well  modelled  and  the  muscles  are  indicated 
by  fine  incised  lines  as  in  vase-painting.  Height,  m.  0-18.  Part  of  the 
tail  with  the  puntello  which  attached  it  to  the  hindleg.  Length,  m.  o-io. 
VI.-V.  Centuries. 

Colouring. — Leg,  cream  ;  tail,  red  with  fine  hairs  indicated  by  incised 
lines. 

(iv)  Etruria.* 

"  Horse  springing  to  right.     Fine  Italic  work." 

TYPE  III — "  SEA  MONSTERS  " 
(i)  Orvieto,  Opera  del  Duomo. 

A  lateral  akroterion  consisting  of  a  sea-monster  who  rears  himself  in 
an  attitude  of  hostile  attention.  V.  Century. 

Colouring. — The  ground  is  very  dark  blue  ;  the  monster's  body  is  cream  ; 
fins  and  crest,  red. 

(ii)  Orvieto.4 

Under  the  Palazzo  Gualtieri  were  found  the  remains  of  a  temple  which 
faced  west  on  to  the  street.  Among  the  debris  of  the  terra-cotta  revetment 
a  slab  was  discovered,  almost  whole,  finely  modelled  in  low  relief.  It 
represented  Glaucus,  whose  legs  ended  in  a  fish's  tail ;  in  his  right  hand  he 
brandishes  a  rudder.  Two  dolphins  glide  by  his  side  and  the  base  depicts 
the  waves  of  the  sea.  V.  Century. 

(iii)  Orvieto.5 

There  are  indications  that  another  temple  stood  at  the  highest  point 
of  the  city  where  the  Church  of  S.  Francesco  now  stands.  Here  a  slab 
was  found  which  shows  Glaucus  with  his  fish's  tail,  reclining  and  clutching 
a  dolphin  in  his  right  hand.  Below  is  a  rich  palmette  motive.  V.  Century. 

Colouring. — Flesh,  red  ;  beard  and  tail,  black  ;  dolphin,  black  ;  ground, 
dark  blue. 

1  Boll.  d'Arte,  i  (1907),  fasc.  iii,  p.  7,  fig.  i. 

2  N.S.,  1907,  p.  539,  figs.  59  and  60  ;  J.R.S.,  iv  (1914),  p.  184. 

3  Christ,  Antiquarium,  Munchen  (1901),  p.  20,  No.  907. 

4  Ann.  Inst.,  liii  (1881),  p.  53.  8  Ibid.,  p.  54. 

7 


40  AKROTERIA 

(iv)  Orvieto.1 

A  mutilated  fragment  showing  the  bearded  heads  of  a  three-headed 
daemon.  The  faces  are  pressed  so  closely  one  against  another  that  only 
the  left  cheek  of  each  is  visible.  The  hair  grows  far  back  on  the  forehead, 
and  is  treated  as  a  solid  mass.  The  brows  stand  out  in  a  sharp  ridge  above 
the  eyes  which  are  represented  by  an  almond-shaped  swelling  between 
thickly  outlined  lids.  All  three  mouths  are  open,  but  no  teeth  are  visible. 
The  beard  of  each  head  stuck  out  in  a  sharp  point.  The  left  ear  of  the 
nearest  head  only  is  rendered,  set  very  far  back  and  rather  schematically 
modelled. 

The  three-bodied  daemon  in  porous  stone  of  the  old  Athena  temple 
consists  of  three  separate  entities  united  at  the  waist,  whereas  this  monster 
had  but  one  body  to  support  his  three  heads.  The  expression,  too,  is 
much  more  stereotyped,  and  does  not  reveal  that  individuality  displayed 
by  the  Greek  example.  Height,  m.  0*175  X  0*225.  V.  Century. 

Colouring. — Traces  of  light  flesh  tint  (slip  ?)  on  the  two  nearer  faces  ; 
on  the  last  face  the  flesh  is  dark  red. 

TYPE  IV — GROUPS.    "  Eos  AND  KEPHALOS  " 
(i)  Caere.1 

This  group,  owing  to  its  large  dimensions,  height,  m.  0-98,  and  also  to 
its  shape,  must  have  formed  the  central  akroterion  of  a  large  temple.  Eos 
is  represented  as  hastening  over  the  waves  which  are  rendered  by  inward 
curving  spirals  in  relief  rising  from  a  half-moon  shaped  base. 

Eos  is  clad  in  a  mantle  with  long  ends  weighted  down  by  acorns  at 
the  corners  and  a  chiton  with  many  folds,  the  lower  part  painted  only  upon 
the  background.  She  is  adorned  with  a  diadem,  large  disc-earrings  and 
a  bracelet  on  either  arm.  Her  feet  are  exceedingly  long  and  slender  and 
from  each  ankle  spring  a  pair  of  wings,  whilst  another  large  pair  extend 
straight  out  from  her  shoulders.  Her  hair  is  parted  and  waved  in  parallel 
grooves,  and  four  long  pearl-locks  are  brought  forward  over  each  shoulder. 
Her  eyes  are  painted  circles  between  thick,  almond-shaped  lids,  but  they 
are  correctly  placed  and  the  eyebrows  are  not  unduly  arched.  Her  mouth 
is  straight  with  full  lips,  but  the  abrupt  rise  of  the  cheeks  at  the  corners  of 
the  mouth  gives  the  effect  of  a  smile.  In  her  arms  she  carries  the  naked 
body  of  the  young  boy,  Kephalos,  who  puts  both  arms  round  her  neck. 
His  features  are  the  plump,  soft  lineaments  of  a  child,  and  this  is  one  of  the 
earliest  examples  of  a  figure  with  really  childish  traits,  instead  of  being 

i  Berlin  Terrak.  Kat.,  Nos.  7531,  7535,  7537- 

1  A.Z.,  xxvii  (1871),  p.  123  ;  1882,  pp.  351-3,  pi.  15,  fig.  16 ;  Martha,  L'Art  £trusque,  p.  323, 
fig.  220  ;  Furtwangler,  M.W.,  p.  250  ;  Walters,  Hist,  of  Anc.  Pottery,  ii,  p.  317  ;  Milani,  Mus  Ital., 
i,  P-  93.  note  4 ;  Rizzo,  Bull.  Com.,  xxxix  (1911),  p.  27 ;  A.  Sorrentino,  "  II  Mito  di  Eos  e  Kephalos  " 
in  Mem.  Accad.  Arch.  Napoli,  iii  (1918),  pp.  23. 


AKROTERIA  41 

represented   merely  as   a   diminutive  grown-up   person.     His   hair  grows 
thickly  over  his  head  in  close  strands,  very  slightly  waved. 

The  group  is  admirably  composed  and  is  a  triumph  of  technique,  for 
the  figures  are  portrayed  in  very  few  planes  and  yet  give  an  impression  of 
lively  movement.  Pausanias  (i.  iii.  i)  mentions  that  one  of  the  akroteria 
of  the  a-roa  /ScwtXeo?  was  composed  of  a  terra-cotta  group  of  Eos  and 
Kephalos,  and  there  the  subject  must  have  been  rendered  in  much  the 
same  manner  as  in  this  akroterion  from  Caere. 

The  support  behind  consists  of  a  plain  slab  set  at  right  angles  in  the 
centre  of  the  main  slab  and  decreasing  in  width  as  it  nears  the  top.  It  is 
painted  with  a  design  of  recurring  and  decreasing  spirals,  a»leaf  filling  the 
space  between  each  spiral  and  the  stem. 

Colouring. — Eos  :  hair,  brownish  black  ;  chiton,  cream  with  a  dark 
border  ;  earrings  and  diadem,  dark  red  with  designs  in  cream  and  black. 
Kephalos  :  flesh,  red  ;  hair,  brows  and  eyes,  black.  The  ground  is  blue. 
The  spirals  on  the  support  behind  are  in  red  and  black  on  a  cream  ground. 

"  ATHENA  AND  HERAKLES  " 
(ii)  Caere.1 

The  akroterion  of  a  small  temple.  The  bearded  hero  is  seated  facing 
left  ;  holding  his  club  in  his  left  hand  and  a  phiale  in  his  outstretched 
right.  A  himation  is  draped  over  his  left  shoulder  and  round  his  lower 
limbs.  Part  of  the  lion's  skin  hangs  over  his  seat.  Before  him  stands 
Athena,  who  lays  her  left  hand  on  his  shoulder  and  with  her  right  replenishes 
his  bowl  from  the  oenochoe  she  carries.  She  wears  a  long  chiton,  a  mantle- 
like  segis  with  a  gorgoneion  and  a  helmet.  Her  feet  are  bare.  The  base 
of  the  group  is  decorated  with  a  meander  pattern.  The  heads  are  modern 
and  there  are  numerous  other  restorations.  The  work  is  rather  coarse,  of 
badly  purified  clay  covered  with  a  heavy  slip.  Height,  m.  0-52.  V. 
Century. 

Colouring.— Athena  :  flesh  and  chiton,  cream  ;  border  of  chiton  and 
£Egis,  red.  Herakles  :  flesh,  dark  red  ;  himation,  cream  with  a  border  of 
black  meander. 

TYPE  V—"  WARRIORS  " 
(i)  Falerii ;   "  Temple  of  Mercury  "  ;   Delia  Seta  No.  12463.' 

The  central  akroterion  of  the  temple  found  in  the  locality  called 
"  Sassi-Caduti."  Within  a  broad  curving  border  which  must  have  formed 

i  Louvre  ;  Martha,  L'Art  £*.,  p.  324,  fig-  ««  :  =•  Pottier'  Les  Statuettes  de  terre  cuite  (1890), 
pp.  218  f. ;  Bull  Inst.,  1869,  p.  134  ',  Roscher,  Lexikon,  i,  p.  2216. 

•  Delia  Seta,  Religione  ed  Arte  Figurata,  p.  173,  fig-  129 ;  R»«>,  Butt.  Com.,  1910,  pi.  xm        xi. 
pp.  27-35 :  Mengarelli,  Bull.  Com.,  1911.  P-  64  ;  Hauser,  Oesterr.  Jahresh     1906,  p.  116  ;  Peten 
Arch  Anz.,  1902!  p.  51 ;  Savignoni,  Rom.  Mitt.,  1906,  p.  77.  note  i ;  Mrs.  Strong,  J.R.S.,  iv  (1914). 

fig.  21. 


42  AKROTERIA 

double  volutes  like  the  central  akroterion  of  the  Athena  temple  on  the 
Acropolis  l  is  a  group  entirely  modelled  by  hand  and  touched  up  with  a 
tool.  It  consists  of  two  warriors  in  mortal  combat.  The  one  on  the  left 
has  been  forced  on  to  his  left  knee  and  awaits  the  final  blow  of  his  adversary 
who  has  got  within  his  guard.  He  is  bearded  and  his  lips  are  parted  by 
the  effort  he  has  made.  He  wears  a  crested  helmet,  a  very  full,  short  chiton 
almost  covered  by  a  cuirass,  thigh-pieces  and  greaves,  and  carries  a  round 
shield  and  a  short  curved  sword.  E.  Saglio  (Diet,  des  Antiq.  iii.  pp.  305- 
307),  has  shown  that  this  type  of  0o>/m£  was  first  found  in  Ionia  and  thence 
introduced  to  Western  Greece  about  the  mddle  of  the  VI.  Century.  Rizzo 
(Bull.  Com.  1911,  pp.  32-35)  has  fully  discussed  the  armour  and  weapons, 
which  are  a  mine  of  information  for  the  war  panoply  of  the  period.  The 
best  parallel  to  the  curved  sword  is  on  a  OTT^XT;  from  Iconium  in 
Lycaonia.* 

His  adversary,  whose  lower  limbs  only  are  preserved,  was  attired  in 
like  manner  and  hastens  forward  eagerly  to  strike  the  fatal  blow.  The 
figures  are  well  modelled  and  have  an  extraordinarily  animated  appearance. 
The  lower  outer  edge  of  the  border  is  decorated  with  wave  pattern  projec- 
tions. The  plain  surface  of  the  reverse  is  painted  with  a  rough  sketch  of 
the  scene  depicted  in  relief  upon  the  obverse. 

There  are  also  fragments  of  a  left  arm,  a  crest  and  parts  of  two  shields, 
the  first  decorated  with  a  leaf-pattern  in  red  and  cream,  the  second  with 
whirligigs  hi  red  and  black.  The  first  mentioned  fragments  may  have 
formed  part  of  the  victorious  warrior  ;  the  second  shield  probably  belonged 
to  a  group  forming  the  lateral  akroterion.  VI-V.  Centuries. 

Colouring.  —  Flesh,  dark  red  ;  hair  and  beard,  black  ;  helmet,  red  with 
a  cream  crest  with  a  red  border  ;  chiton,  red  with  a  cream  border  edged 
with  black  at  the  lower  hem  ;  cuirass,  cream  with  details,  such  as  the  strings 
to  fasten  the  shoulder-pieces,  in  red  and  black  ;  Trre^i/ye?,  cream  outlined 
with  black  and  red  alternately  ;  thigh-pieces  and  greaves,  red  with  a  cream 
border.  The  victor  has  a  red  chiton  with  a  wide  cream  border.  Interior 
of  the  shield,  red  with  a  cream  border.  The  wave  pattern  below  the  cream 
border  is  black  outlined  with  cream. 

(ii)  Rome,    Esquiline.1 

The  mutilated  torso  of  a  wounded  Amazon  from  shoulders  to  waist. 
She  wears  a  chiton  and  cuirass  with  shoulder-pieces  (eVw/uSe?),  which 


1  Hans  Schrader,  Archaische  Marmor-Skulptur  (Gratz,  1909),  pp.  5-9,  fig.  7. 

•  G.  Perrot,  Hist,  de  I'art,  iv,  p.  741,  fig.  359. 

8  Bull.  Com.,  1875,  p.  54;  Rizzo,  Bull.  Com.,  1911,  p.  34;  Daremberg  et  Saglio,  Diet,  des  antiq., 
iii,  2,  pp.  1302-5,  s.v.  "  Lorica  "  ;  Deonna,  Statues  de  terre  cuite  dans  I'antiquiU,  p.  103,  fig.  3; 
Petersen,  Rom.  Mitt.,  1896,  p.  179;  Graillot,  Melanges  d'arch.  et  d'hist.,  xvi  (1896),  p.  162,  note 
6;  Milani,  Mus.  Ital.,  i,  p.  93,  note  8  ;  Wiegand,  Ny  Carlsberg  Cat.,  ii,  p.  19;  J.R.S.,  iv  (1914), 
p.  186,  fig  25. 


AKROTERIA  43 

come  low  down  over  the  breast  and  are  fastened  by  little  cords  which  are 
threaded  through  a  buckle  at  the  flap  of  the  shoulder-pieces,  and  then 
through  a  couple  of  rings  attached  to  the  cuirass  above  the  waist.  Over 
the  shoulders  hangs  a  rider's  cloak  which  fills  the  space  between  the  body 
and  the  extended  left  arm.  Below  the  left  breast  is  a  wound  from  which 
the  blood  flows  down  in  streams.  Height,  m.  0-21  x  0*37.  End  of  VI. 
Century. 

Belonging  to  this  torso  is  the  fragment  of  a  leg  from  knee  to  ankle, 
partially  covered  by  a  greave  ;  the  calf  is  very  full  and  the  ankle  slender. 
Height,  m.  0-23.  The  figure  was  made  of  fine,  well-worked  clay  ;  the 
modelling  is  excellent. 

Colouring. — Flesh,  cream  ;  the  black  chiton  has  a  red  border  edged 
red  and  black  band  ;  the  cuirass  is  cream,  each  separate  piece  outlined 
in  red  ;  the  upper  edge  (visible  under  the  left  arm)  is  decorated  with  small 
eight-pointed  stars  in  black  and  red ;  around  the  waist  runs  a  red  meander. 
The  shoulder-pieces  are  in  two  parts,  the  upper,  square  portion  adorned  with 
a  large  black  star  and  separated  by  a  line  of  black  squares  from  the  lower, 
rounded  part,  which  has  a  black  field  bordered  with  red  and  black.  These 
eVftj/zi'Se?,  with  their  decoration,  resemble  those  depicted  on  the  stele  of 
Aristion,  the  work  of  Aristokles.1  The  fastening  cords  are  red  ;  the  cloak 
is  cream  outside,  lined  with  red,  and  ornamented  with  an  elaborate  design 
of  chequers  in  red  and  black.  The  greaves  are  brownish  yellow  with  a  red 
border. 

(iii)  Caere.* 

A  warrior  on  horseback.  The  warrior,  fully  armed,  bestrides  one  horse 
and  leads  another.  He  has  a  helmet  surmounted  by  a  high  crest.  Beneath 
the  helmet  one  little  spiral  curl  escapes  on  to  his  forehead  ;  he  has  a  smooth 
beard  and  a  flowing  moustache.  His  eyebrows  are  very  arched  above 
almond-shaped  eyes  between  heavily  outlined  lids  ;  his  lips  are  closed. 
He  wears  a  chiton  and  cuirass  with  fringed  tabs  over  the  shoulders  and  a 
cloak  hangs  over  his  left  shoulder,  passes  across  the  back,  under  the  right 
arm,  and  then  the  end  is  thrown  over  the  left  shoulder,  thus  leaving  only 
the  right  side  of  the  chest  and  back  uncovered.  He  has  greaves  and 
apparently,  soft  boots  with  pointed  toes.  His  right  arm  is  bent  and  he 
probably  held  a  couple  of  spears  in  his  closed  fist.  His  left  hand,  which 
held  the  reins,  is  broken.  The  horse-trappings  are  ornamented  with  con- 
cave discs,  but  there  seems  to  have  been  no  saddle  cloth. 

From  the  proportions  of  this  figure  and  the  quality  of  the  clay  it  appears 
to  have  belonged  to  the  series  of  warriors  which  decorated  the  kymation. 

1  Conze,  Attische  Grabreliefs,  pi.  ii,  I  ;   Brunn-Bruckmann,  Denkm&ler,  No.  41  a. 
»  Ny  Carlsberg  Cat.,  ii,  p.  21,  pi.  172. 


44  AKROTERIA 

In  that  case  this  group  must  have  formed  the  left  lateral  akroterion  and 
there  must  have  been  a  companion  piece  to  balance  it  on  the  right. 
Restorations  :  a  large  part  of  the  helmet  and  crest  ;  the  trunk  to  the  hips, 
with  the  exception  of  the  right  arm  ;  the  horses'  legs  except  the  hoofs  ; 
the  tail  of  one  horse  ;  the  support  behind.  Height,  about  m.  0-715.  VI.- 
V.  Centuries. 

Colouring. — The  mounted  horse  is  black  with  a  red  mane  and  tail ;  the 
led  animal  is  cream.  The  warrior  has  dark  red  flesh,  black  eyes,  outline  of 
lids,  hair,  beard  and  moustache  ;  cream  helmet,  crest  outlined  red  and 
black  ;  red  chiton  ;  cream  cuirass  ;  cream  mantle  lined  with  red  and  with 
a  broad  red  border  ;  cream  greaves  and  red  boots. 

(iv)  Caere.1 

Figures  of  warriors  who  crowned  the  raking  cornice  of  a  pediment. 
The  increasing  size  of  the  figures  which  culminated  in  the  central  one,  m.  0-60 
in  height,  shows  that  they  were  placed  in  such  a  way  that  the  largest  formed 
the  central  akroterion  of  the  edifice.  This  arrangement  is  very  unusual, 
but  at  a  later  period  the  temple  of  Luni  was  adorned  in  similar  fashion.1 
The  disposition  of  the  figures  in  the  Ny  Carlsberg  Museum  is  arbitrary 
save  for  the  central  one.  Besides  these  nine  warriors  there  are  five  heads 
in  Berlin  and  others  may  have  been  lost. 

These  warriors  all  wear  the  same  type  of  armour,  although  the  details 
are  varied,  but  it  is  a  curious  fact  that  no  weapons  have  been  preserved  ; 
there  also  seems  to  be  no  trace  of  the  shields  so  prominent  in  the  groups 
from  Falerii,  Satricum  and  Signia.  All  the  warriors  have  dark  red  flesh 
and  flowing  beards  and  moustaches  which  leave  the  lips  uncovered. 

First  warrior  on  the  left.  Height,  about  m.  0-25.  He  falls  backward, 
wounded  in  the  neck,  where  a  small  hole  is  visible ;  there  is  also  another 
hole  or  wound  on  the  helmet.  He  is  evidently  dying,  for  he  rolls  up  his 
eyes  so  that  only  the  whites  show,  his  lips  are  drawn  back  in  a  last  spasm, 
his  right  arm  hangs  limply  and  he  sinks  upon  his  bent  right  knee.  This 
head  displays  even  greater  realism  than  the  celebrated  head  of  the  dying 
warrior  from  Satricum.  He  wears  a  helmet  surmounted  by  a  crest-holder 
and  a  chiton  covered  by  a  cuirass.  Broken  :  left  arm  and  leg,  right  wrist, 
right  foot ;  the  head  has  been  broken,  but  belongs. 

Colouring. — Flesh,  dark  red  ;  helmet,  cream  with  black  cheek-pieces  ; 
chiton,  reddish  brown ;  cuirass,  cream  with  a  belt  of  small,  black,  dot-filled 
squares. 

No.  2.  Height,  about  m.  0-27.  He  stands  almost  in  profile,  looking 
towards  the  central  figure.  Broken  :  both  arms,  left  leg  at  the  thigh. 

1  Ny  Carlsberg  Cat.,  ii,  pi.  19,  pi.  170. 

»  Milani,  Mus.  Hal.,  i  (1884),  p.  89-112,  pis.  3-7  ;   Mus.  Arch,  di  Firenze,  pi.  c. 


AKROTERIA  45 

The  head  does  not  belong  to  the  body,  for  there  are  traces  of  red  hair  on 
the  back,  whilst  the  hair  on  the  head  is  black. 

Colouring. — Helmet  and  cuirass,  cream  ;  chiton,  reddish  brown  with  a 
black  border. 

No.  3.  Height,  about  m.  0-355.  He  also  looks  towards  the  centre. 
Broken  :  both  arms,  left  leg,  right  leg  above  the  knee  ;  the  head  has  been 
broken,  but  belongs. 

Colouring. — Hair  and  beard,  reddish  brown  ;  helmet,  cream  ;  chiton, 
reddish  brown  ;  cuirass,  cream  with  a  belt  of  black  squares  filled  with  large 
red  dots. 

No.  4.  Height,  about  m.  0-25.  His  right  arm  is  raised  and  sharply 
bent  at  the  elbow  in  the  act  of  striking.  He  wears  a  helmet  and  cuirass 
with  large  shoulder-pieces.  The  figure  is  broken  at  the  hips,  and  the  left 
arm  is  broken  at  the  shoulder,  the  right  at  the  wrist. 

Colouring. — Helmet,  cream  ;  cuirass,  cream  with  a  belt  consisting  of 
red  diamonds  filled  with  black  dots  and  enclosed  between  red  lines  ;  on 
the  tabs  is  a  swastika  in  red  and  black. 

No.  5.  The  central  figure,  height,  m.  O-6O.1  He  is  presented  frontally 
to  the  waist,  but  his  legs  are  in  profile  to  right.  He  is  bearded  and  two 
long  curls  hang  over  either  shoulder,  one  reaching  almost  to  the  waist. 
He  wears  a  crested  helmet  with  an  elaborate  decoration  of  two  spirals  over 
the  forehead  and  two  large  spirals  before  the  ears,  like  irapa^vaOL^  ;  this 
Hauser  *  considers  the  "  tettix,"  a  tuft  of  hair  which  constituted  the 
warrior's  scalp-lock,  and  was  covered  by  a  gold  ornament  to  protect  it  from 
the  enemy.  His  cuirass  has  long  eVayu'Se?  fastened  by  cords  to  a  ring  on 
the  corselet,  vr  repine?  without  a  fringe  and  greaves  furnished  with  a  pad 
to  protect  the  ankles  ;  his  feet  are  bare.  The  sleeve  of  his  chiton  is  visible 
on  his  right  shoulder.  His  right  arm  is  raised  and  bent  at  the  elbow  as  if 
he  held  a  sword,  but  the  forearm  is  broken  ;  the  left  arm  is  broken  from 
the  shoulder.  The  head  has  been  broken,  but  belongs. 

Colouring. — Hair,  beard,  eyes  and  brows,  black  ;  eyeballs,  white  ; 
chiton,  black  bordered  with  cream  ;  helmet,  black  with  a  cream  crest  edged 
with  red  ;  cuirass,  cream  outlined  with  black  and  with  a  broad  belt  round 
the  waist  of  black  squares  filled  with  red  dots  ;  greaves,  cream  with  a 
black  pattern  ;  pads,  black.  The  ground  of  the  slab  is  black. 

No.  6.  Height,  about  m.  0-34.  He  steps  towards  the  centre,  his  back 
turned  towards  the  spectator.  His  long  hair  ripples  down  his  back  almost 
to  his  waist.  Broken  :  left  leg  at  the  ankle,  right  leg  at  the  thigh.  The 
head  has  been  broken,  but  belongs. 

Colouring.— Hair,  reddish  brown  ;    helmet,  cream  with  a  black  crest 

i  Ny  Carlsberg  Cat.,  ii,  pi.  171  ;   Castellani  Cat.  de  Vente  (1884),  No.  488. 
»  .Oesterr.  Jahresh.,  1906,  pp.  114-26,  figs.  41  and  42. 


46  AKROTERIA 

edged  with  red  ;  chiton,  reddish  brown  ;  cuirass,  cream  patterned  with 
black  ;  greaves,  cream. 

No.  7.  Height,  m.  0-26.  He  leans  forward  and  raises  his  left  leg 
extremely  high,  as  if  it  rested  upon  some  projection  ;  his  right  arm  is  raised. 
Broken  :  left  arm  at  the  shoulder,  right  just  below  the  shoulder  ;  left  leg 
at  the  calf,  right  at  the  thigh. 

Colouring. — Hair  and  beard,  reddish  brown  ;  helmet,  cream  ;  chiton, 
red  with  a  white  border  ;  cuirass,  cream  with  a  belt  of  chequer  pattern  in 
black  ;  greaves,  cream. 

No.  8.  Height,  of  head  m.  o-io  ;  of  the  rest  of  the  body,  m.  0-13.  It 
is  not  certain  if  these  fragments  belong  together.  He  steps  forward  with 
the  left  foot  advanced.  Only  the  torso  is  preserved. 

Colouring. — Chiton,  red  with  a  white  border  ;  cuirass,  cream  with  a 
belt  of  black  dot-filled  squares. 

No.  9.  Height,  m.  0-20.  He  sinks  down  in  a  heap  with  his  head  bowed. 
Broken  :  both  arms  ;  left  leg,  right  leg  at  the  knee. 

Colouring. — Beard,  reddish  brown  ;  helmet,  cream  with  black  nose  and 
cheek  pieces  ;  chiton,  red  with  a  border  of  white  dots  ;  cuirass,  cream. 

In  the  Antiquarium,  Berlin,  are  other  fragments  belonging  to  this  series 
and  illustrated  by  Wiegand.1 

(a)  Head  turned  to  the  left.     Height,  m.  0-115  ;   well  worked  on  both 
sides.     He  wears  a  helmet  with  a  crest  set  in  a  holder  elaborately  decorated 
with  squares  filled  with  dots.     Hair,  red.     Wiegand,  fig.  6. 

(b)  Head  and  torso  turned  left  because  the  right  half  of  the  head  is 
unfinished.    The  appearance  of  the  trunk  suggests  that  he  was  overthrown. 
His  cuirass   has  very  long  eVw/uSe?  with  square  ends  fastened   by  cords 
to  a  ring  above  the  belt,  which  is  ornamented  with  black  squares  filled 
with  red   dots,   a   design  repeated   on  the   upper   part   of   the  en-to/uSes. 
Wiegand,  fig.  7. 

(c)  Head  turned  three-quarters  to  left.     Height,  m.  0-8.     He  wears  a 
helmet  with  a  wide,  low  ridge,  on  either  side* of  which  arose  the  double  crest. 
Wiegand,  fig.  8. 

Colouring. — Hair  and  helmet,  red  ;  the  cartilage  of  the  ear  shows  a 
black  line  inside. 

(d)  Fragment  of  head  turned  to  left.     Height,  m.  o-io.     His  helmet  has 
a  long,  stiff  crest.     Wiegand,  fig.  9. 

(e)  Fragment  of  a  head  turned  right  covered  with  a  lion's  skin.     Height, 
m.  0-29.     Wiegand,  fig.  10. 

(/)  Head  full  face.     Height,  m.  0-095.     Broken:  chin  and  neck. 
There  are,  besides  these,  a  torso,  two  thighs,  one  leg  with  greaves,  one 
left  and  one  right  foot. 

1  Ny  Carlsberg  Cat.,  ii,  p.  20  a-tn,  figs.  6-10 ;   Berlin  Inv.  T.C.,  bb.  81. 


AKROTERIA  47 

(v)  Velitrae.1 

Fragment  of  a  human  leg  from  the  middle  of  the  thigh  to  half-way 
below  the  knee.     A  short  chiton  with  many  folds  partly  covers  the  thigh 
Possibly  it  was  part  of  the  central  akroterion. 

Colouring.— Flesh,  dark  red  ;    chiton,  cream  with  a  black  border. 

TYPE  VI—"  PALMETTES  " 
(i)  Satricum,  Delia  Seta  No.  ioi88.2 

Fragments  of  a  great  pierced  palmette  which  formed  the  akroterion  of 
the  sixth-century  temple.  The  leaves  of  the  palmette  rise  from  a  calyx 
flanked  by  two  volutes  with  palmettes  and  leaves. 

Colouring.— Cream  ground,  details  in  red  and  black. 

r 

(ii)  Rome,  Via  di  Monte  Tarpeo.1 

Part  of  the  early  decoration  of  the  temple  of  Jupiter  Optimus  Maximus. 
The  left  side  of  a  palmette  modelled  in  relief.  On  the  reverse  side  the 
surface  is  plain  and  the  motive  of  the  decoration  in  relief  on  the  opposite 
side  is  repeated  in  the  same  colours. 

TYPE  VII — "  UNCERTAIN  MOTIVE  " 
(i)  Rome,  Palatine.4 

A  fragment  found  at  the  top  of  the  "  Steps  of  Cacus,"  from  the  revet- 
ment of  a  temple.  It  was  found  with  the  fragments  of  the  horse,  Types  II, 
iii ;  but  it  seems  later  than  the  horse  in  treatment,  although  it  is  so  broken 
and  shapeless  that  it  is  difficult  to  define. 

KYMATION  MOULDING 
(i)  Caere.5 

The  head  of  a  ram  with  curly  horns  which  formed  the  protruding  angle 
of  the  kymation.  It  should  be  compared  with  the  ram's  head,  the  end  of 
a  marble  kymation  found  at  Eleusis  and  now  in  the  National  Museum,. 
Athens,  which  has  been  dated  in  the  VI.  Century.6  Yet  this  head  from 
Caere  is  even  better  modelled,  the  hair  is  no  longer  rendered  by  regular  rows 
of  tight  curls  and  the  masterly  modelling  produces  an  effect  of  the  utmost 
realism.  The  head  projected  at  least  m.  0-24  beyond  the  roof,  because  for 

1  Apparently  this  is  referred  to  in  N.S.,  1915,  p.  75,  as  "human  arm  (m.  0*23  by  0*7)  with 
sleeve  reaching  almost  to  mid-arm,  painted  white  with  a  double  black  border." 

2  Helbig,  ii,  p.  354,  No.  1786*. 

3  Bull.  Com.,  1896,  pis.  xii-xiii,  4,  pp.  119,  189  ;  N.S.,  1896,  p.  186  ;  J.R.S.,  iv  (1914),  p.  183. 
«  N.S.,  1907,  p.  539,  fig.  61  ;    J.R.S.,  iv  (1914).  P-  l84- 

6  Ny  Carlsberg  Cat.,  ii,  p.  22,  pi.  174,  i  ;  Fenger,  Le  Temple  Eirusco-Latin,  fig.  47.  ' 
6  Winnefeld,  $gtes,  Berliner  Winckelmannsfestprogramm  (1899),  p.  19,  pi.  i. 

8 


48  AKROTERIA 

the  whole  of  that  extent  there  are  traces  of  circles  painted  red  and  black. 
The  clay  is  light  with  black  particles.     Height,  m.  0-14  X  0-34.     V.  Century. 
Colouring. — Traces  of  red  on  the  crown  of  the  head,  faint  traces  of  red 
and  black  beneath. 

(ii)  Veii,  Museo  Villa  Giulia. 

A  ram's  head  decorating  the  angle  of  the  kymation,  beautifully  modelled 
in  naturalistic  fashion.  VI.-V.  Centuries. 

Colouring. — Cream  slip. 

GUTTER-PIPES 
(i)  "  Statonia  "  (Pitigliano).1 

The  kymation  of  the  long  side  of  a  temple  consisting  of  two  elements  : 
(a)  fluting  which  curves  outward  ;  (b)  fascia  on  which  were  set  at  intervals 
lions'  masks  with  gaping  jaws.  Some  of  them  were  pierced  to  carry  off 
the  rain-water,  whilst  every  alternate  one  was  purely  ornamental.  Height, 
m.  0-155.  VI.-V.  Centuries. 

(ii)  Velitrae.1 

Fragments  of  kymation  from  the  temple  under  Sta.  Maria  delle  Stimmata. 
It  consists  of  three  elements  :  (a)  narrow  fluting  ;  (b)  fascia  (painted 
with  guilloche  pattern  ?)  ;  (c)  covering  almost  the  whole  extent  from  top 
to  bottom  are  lions'  masks  set  at  regular  intervals  to  serve  as  spouts  for  the 
discharge  of  water  from  the  roof.  To  some  of  these  slabs  still  adhere,  set 
at  right  angles  to  the  kymation,  a  plain  slab  decorated  only  with  a  pattern 
of  spirals  linking  palmettes  and  lotus-flowers.  These  painted  slabs  ceiled 
the  roof  formed  by  the  overhanging  eaves,  and  should  be  compared  with 
those  found  at  Satricum.  Early  V.  Century. 

Colouring. — Clay,  greyish  yellow  covered  by  a  cream  slip.  All  colour 
has  disappeared.  The  roof  slab  has  a  cream  design  on  a  red  ground. 

COLUMEN 

(i)  Satricum,  Delia  Seta  No.  10054.* 

The  right  half  of  a  slab,  square  in  section  at  the  bottom  and  triangular 
at  the  top  with  an  angle  of  seventeen  degrees.  This  slab  is  extremely 
important,  as  it  gives  the  exact  dimensions  of  the  columen,  from  which  the 
angle  of  the  pediment  can  be  ascertained.  It  is  bordered  at  the  sides  by 
a  convex  band  which  decreases  in  relief  towards  the  top  until  it  merges  into 

»  N.S.,  1898,  p.  435,  fig.  3. 
»  N.S.,  1915,  p.  76,  figs.  4,  5. 

3  Rizzo,  Bull.  Com.  (1911),  pp.  48-52,  figs,  ii,  13  ;    J.R.S.,  iv  (1914),  p.  171,  pi.  19  ;   Petersen, 
Rom.  Mitt.,  1896,  p.  180  ;  Helbig,  ii,  p.  352,  No.  1786  n. 


AKROTERIA  49 

the  plane  of  the  slab  which  was  fastened  to  the  wooden  beam  beneath  by 
nails,  the  holes  for  which  are  still  visible. 

The  subject  represented  was  a  monomachia  treated  in  very  high  relief. 
A  warrior  facing  to  left  advances  impetuously  to  strike  his  adversary.  He 
wears  a  helmet  with  Traparjvad&es,  but  now  shorn  of  its  crest,  a  chiton, 
cuirass,  chlamys,  thigh-pieces,  greaves  and  a  triangular  protection  which 
hangs  down  in  front  below  his  chiton ;  this  last  is  possibly  the  fao-nip,  or 
£<w/<ta.  The  cuirass  is  furnished  with  mobile  eVoo/u'Se?  fastened  by  little 
cords.  He  raises  his  right  arm  to  slash  at  his  opponent,  whose  great  spear 
has  glanced  aside  on  to  his  shield,  where  it  is  still  visible.  This  round  shield 
is  adorned  with  an  emblema  of  a  centaur  galloping  to  right  with  raised  arms. 
A  fragment  showing  the  warrior's  foot  and  the  edge  of  the  slab  was  found 
later,  and  thus  the  exact  dimensions  are  ascertainable.  Total  height  of 
slab,  m.  0-36  X  0-46.  Beginning  of  the  V.  Century. 

Colouring. — Flesh,  red  ;  chiton,  red  with  a  cream  border  ;  cuirass, 
thigh-pieces,  greaves  and  shield,  cream  with  details  in  red  and  black  ; 
chlamys,  cream  outside  with  a  double  red  border,  the  inner  lining  orna- 
mented with  a  red  scale  pattern.  The  convex  border  of  the  slab  is  painted 
with  chevrons  alternately  red  and  black.  The  ground  of  the  slab  is  black. 

(ii)  Velitrse,  Museo  Civico. 

A  small  female  head  ;  the  hair  is  parted,  waved  in  scallops  and  crowned 
by  a  diadem.  The  eyes  are  indicated  by  an  almond-shaped  swelling. 
The  clay  is  greyish  yellow,  and  there  are  no  traces  of  colour.  Height,  about 
m.  0-04.  This  head  was  found  with  the  akroterion  of  a  griffin  (Type  I,  x) 
and  other  remains  under  Sta.  Maria  delle  Stimmata,  and  may  have  decorated 
the  columen  of  the  temple. 

(iii)  Signia,  Delia  Seta  No.  19100  ff.1 

Numerous  fragments  of  figures  which  probably  covered  the  columen. 
The  best  preserved  are  :  (a)  The  head  of  a  young,  unbearded  man  with  a 
smiling  expression  ;  his  long  hair  flows  down  his  back,  (b)  A  female  head 
covered  with  a  mantle,  her  hair  is  parted  and  waved  in  scallops.  Her  eyes 
are  long  and  narrow,  (c)  Another  female  head  with  smooth  hair  ;  shield- 
shaped  earrings  and  a  diadem,  (d)  Two  male  right  feet,  (e)  Fragment 

a  horse  (?).  ,    .     , ,     , 

Colouring.-(a)  Flesh,  red  ;  hair  black  ;  (b)  flesh,  white  ;  hair,  black  ; 
eyes,  brown  with  a  black  pupil  and  circle  round  the  iris;  mantle,  cream; 
(c)  diadem,  cream  with  a  red  double  border. 

i  Delbruck,  Das  Capitolium  von  Signia,  p.  10,  pi.  v  ;   Cronica  d'Arte,  p.  14  (in  Boll.  d'Arte,  x. 
1916)  ;   Helbig,  ii,  p.  349- 


50  AKROTERIA 

MUTULI 

(i)  Signia,  Delia  Seta  No.  19017. 

The  mutuli  were  apparently  decorated  by  two  renderings  of  the  same 
subject,  a  monomachia.  Only  a  few  miserable  remains  are  preserved,  but 
sufficient  to  enable  one  partially  to  reconstruct  the  scenes.  In  the  group 
on  the  left  a  warrior  attacked  his  adversary  and  seems  to  have  stood  over 
him  in  the  act  of  delivering  the  final  blow.  He  wears  a  chiton  just  visible 
over  the  left  shoulder,  a  cuirass  with  Trrepvyes  and  a  chlamys  and  carries 
a  round  shield. 

The  group  on  the  right  mutulus  consists  merely  of  the  great  round  shield 
of  the  vanquished,  behind  which  on  the  right  is  part  of  his  crouching 
body.  In  front  of  the  shield,  and  adhering  to  it,  is  a  small  portion  of  the 
leg  of  his  adversary  who  stood  over  him  to  slay  him. 

To  this  group  may  belong  the  left  arm,  covered  at  the  shoulder  by  a 
chiton  with  little  pleats,  thrust  through  a  shield-strap  ;  also  part  of  a  leg 
encased  in  greaves. 

Colouring. — Group  on  the  left,  chiton,  cream  with  black  border  ;  cuirass 
and  tabs,  cream  outlined  with  black ;  chlamys,  cream  with  red  and  black 
border  and  powdered  with  groups  of  four  red  dots  ;  shield,  cream  with  flame 
pattern  in  red  round  the  edge.  The  fragment  of  an  arm  shows  red  flesh  ; 
chiton,  cream  with  a  black  border ;  shield-strap,  cream  fastened  to  the 
shield  by  a  large  black  palmette. 

(ii)  Satricum,  Delia  Seta  No.  16053  ff. 

Parts  of  two  slabs  with  a  level  border  along  the  bottom  decorated  with 
meander  and  lateral  borders  which  decrease  in  relief  as  they  near  the  top 
until  they  merge  into  the  slab.  The  left  upper  angle  of  one  slab  is  preserved  ; 
it  has  a  trapesoidal  outline  and  recalls  the  shape  of  the  columen.  The  sub- 
ject represented  on  each  slab  was  a  struggle  between  a  Greek  and  an  Amazon. 
The  Greek  has  brought  down  his  opponent  and  kneels  over  her.  The  frag- 
ments are  as  follows  : 

(a)  The  Greek  covers  with  his  bare  left  foot  the  Amazon's  left  foot. 
Their  hands  are  close  together  ;    his  grasped  something  (a  sword  ?),  hers 
hangs  rather  limply  with  palm  outward,  but  fingers  lightly  closed.     To  the 
left  is  part  of  the  Greek's  kneeling  right  knee. 

(b)  Left  lower  corner  of  a  slab  showing  right  foot  of  a  kneeling  leg, 
for  the  toes  press  the  ground,  whilst  the  heel  is  sharply  raised. 

(c)  Fragment  with  right  arm  of  Amazon  with  clenched  fist  which  held 
a  weapon  against  another  hand,  closed,  palm  outwards. 

(d)  Small  fragment  of  lower  border  of  slab  with  background  and  traces 
of  fingers. 


AKROTERIA  51 

(e)  Part  of  lower  left  corner  without  background. 

(/)  Part  of  the  left  border  of  a  slab  with  background. 

(g)  Part  of  a  knee  turned  to  right,  slightly  flexed. 

(h)  Part  of  a  flexed  thigh,  knee,  and  calf. 

(i)  Left  foot  of  a  kneeling  figure,  the  toes  pressing  the  ground,  whilst 
the  heel  is  sharply  raised. 

(;')  Drapery  (?). 

(k)  Part  of  the  background  from  the  middle  of  the  slab. 

(/)  Part  of  Amazon's  left  foot  and  ankle. 

Colouring. — Flesh  of  Greek,  red  ;  flesh  of  Amazon,  white.  Ground, 
black  ;  border,  cream  meander,  the  spaces  filled  with  red  above  and  black 
below. 

SINGLE  SLABS 
(i)  Rome.1 

A  very  archaic  slab  in  low  relief  depicting  a  slim  warrior  mounted  upon 
a  remarkably  high  horse,  which  faces  to  left.  A  second  horse  is  outlined 
in  the  background  and  between  them  one  sees  the  chariot-pole.  Long 
plastic  reins  extend  from  the  horses'  necks  straight  back  evidently  to  the 
hands  of  the  driver,  now  destroyed.  The  warrior  wears  a  crested  helmet ; 
the  horses  have  the  barrel-bodies  and  thick  necks  of  the  quadrupeds  of 
the  Dipylon  vases.  The  subject  seems  a  confusion  between  the  scene 
of  the  armed  riders  and  that  of  the  biga  driven  by  a  warrior  ;  in  many 
details  it  recalls  the  frieze  of  porous  stone  found  at  Prinia  in  Crete.8  Height, 
m.  0-19  X  O'2i.  First  half  of  the  VI.  Century. 

Colouring. — The  ground  is  red  ;   all  other  colour  has  disappeared. 

(ii)  Rome,   Forum.1 

It  was  found  quite  close  to  the  Niger  Lapis  and  is  in  several  pieces, 
so  that  the  body  of  the  warrior  is  missing.  He  rides  toward  the  right 
wearing  a  crested  helmet  and  carrying  a  spear.  The  horse  is  rather 
thick-set  and  has  a  tail  so  long  that  it  reaches  to  the  ground.  Height, 
m.  0-22  x  0-235.  Second  half  of  the  VI.  Century. 

Colouring. — Ground,  red  ;    all  other  colour  has  disappeared. 

(iii)  Vignanello,  Delia  Seta  No.  26286.* 

Here  the  horse  prances  to  right.  The  rider  is  armed  with  a  round 
shield  and  poises  a  spear  ready  for  action.  The  other  two  reliefs  show  the 

i  Boston  Museum  of  Fine  Arts ;  J.R.S.,  v  (1915)  PP-  203-6,  fig.  45. 

*  Pernier,  Boll,  d'  Arte,  1907,  fasc.  viii,  pp.  28,  29,  pi.  ii ;  Annuario  della  R.  Scuola  Archeol.  dt 

Alene,  i.  (1914).  PP-  93-8,  fig-  19- 

8  N.S.,  1899,  p.  167,  fig.  17  ;  1900,  p.  143  ;  Montelius,  Civil,  print,  en  Italic,  pi.  358,  8;  Art 
logia,  Ivii,  i,  p.  180  ;  J.R.S.,  iv  (1914),  PP-  185. 

«  N.S.,  1916,  pp.  83  f,  fig.  46. 


52  AKROTERIA 

horse  advancing  quietly,  but  here  there  is  an  attempt  to  portray  rapid 
motion.  A  volute  is  introduced  to  fill  the  space  under  the  horse's  body. 
No  colour  remains.  Height,  m.  0-19  X  0*19.  Middle  of  VI.  Century. 

(iv)  Satricum,  Delia  Seta  No.  IOO37.1 

The  much-rubbed  fragments  of  a  relief  representing  a  gorgon  hurrying 
towards  the  right  in  the  ancient  running  scheme.  She  is  bearded,  wears  a 
tightly  fitting  chiton  such  as  is  worn  by  the  gorgon  found  at  the  ancient 
sanctuary  on  Ortygia,  Syracuse,1  and  the  relief  from  Sendschirli.1  On 
her  feet  are  winged  boots,  and  she  raises  her  left  hand  with  palm  turned 
outward.  Clay,  greyish.  No  remains  of  colour.  VI  Century. 

(v)  Satricum,  Delia  Seta  No.  10506. 

Relief  with  the  legs  of  an  ox  or  bull.  Possibly  these  figures  belonged 
to  the  preceding  slab. 

(vi)  Satricum. 

Scattered  fragments  from  one  or  more  slabs  which  seem  to  have  repre- 
sented a  fight  between  Persians  and  Greeks  at  which  women  were  present. 
The  whole  figures,  almost  in  the  round,  were  modelled  by  hand  and  the 
heads  were  extraordinarily  expressive  and  life-like.  The  following  are 
the  best  preserved  : 

(a)  Head  of  a  warrior,  Delia  Seta  No.  10047,*  covered   with  a   helmet 
with  an  elaborate  crest  found   later.      The  cheek-pieces  are  immovable 
and  two  stylised  horns  decorate  the  helmet  over  the  forehead.     He  has  a 
large  moustache  and  smooth  beard,  his  eyebrows  are  plastic  and  the  eye- 
sockets  are  hollowed  and  filled  with  a  lustrous  black  gum  which  held  the 
paste  or  enamel  filling.    The  warrior  was  apparently  overthrown  and  lying 
on  his  right  side,  for  on  the  left  side  of  his  helmet  are  the  remains  of  a 
horse's  hoof,  showing  that  he  was  being  trampled  underfoot. 

Colouring. — Flesh,  deep  pink  ;  hair  (visible  at  the  back  under  the  helmet), 
beard,  moustache,  brows  and  eyes,  black  ;  helmet,  yellow  with  horns 
and  outline  in  black  ;  crest  ridge,  red  broken  meander  bordered  with  black 
on  a  cream  ground  ;  crest,  chequer  pattern  in  red,  white  and  black  with 
a  red  edge. 

(b)  Head  of  an  old  dying  man,  Delia  Seta  No.  10046.'    The  expression 

»  Helbig,  ii,  p.  349,  No.  1786  b. 

*  Orsi,  Mon.  Ant,  Lincei,  xxv  (1919),  cols.  614-22,  pi.  xvi. 

»  E.  Meyer,  Reich,  u.  Kullur  der  Chetiter  (Berlin,  1914),  fig.  83. 

*  N.S.,  1896,  p.  42,  figs.  15,  153;   Rizzo,  Bull.  Com.,  1911,  p.  37;   Hauser,  Oeslerr.  Jahresh., 
1906,  p.  115,  figs.  4,  44«;  Graillot,  Melanges  d'arch.  et  d'hist.,  1896,  pp.  149-53.  P1-  4;  Petersen, 
Rdm.  Mitt.,  1896,  p.  178,  a  ;  Helbig.  ii,  p.  352,  No.  1786,  p. 

8  Rizzo,  op.  cit.,  p.  41  ;  Petersen,  op.  cit.,  p.  178,  b  ;  Helbig,  ii,  p.  353,  No.  1789  q. 


AKROTERIA  53 

is  marvellously  realistic.     The  forehead  is  wrinkled,  the  lips  drawn  back  in 
the  death  agony.     The  eyes,  with  their  long  painted  lashes,  are  closed. 

Colouring. — Flesh,  deep  pink  ;  brows,  eyelids  and  lashes,  black  ;  hair, 
beard,  and  moustache,  white. 

(c)  Head  of    a  dying  woman  (?).1    The  hair  in  short,  rough  locks  is 
parted  over  the  forehead.     The  eyes  are  closed,   the  forehead  wrinkled 
and  numerous  lines  are  drawn  round  the  mouth.     No  colour. 

(d)  Head  of  a  dying  Persian,  Delia  Seta  No.  10045.    The  whole  head 
is  swathed  in  a  cloth  or  head-dress  which  leaves  only  the  eyes  and  nose 
visible.     The  obliquely   set  eyes  are  half  open,  with  strongly  developed 
lower  lids  ;    the  nose  is  small  and  squat.     The  clay  has  taken  a  greyish- 
white  tone  as  if  it  had  been  corroded  by  water. 

(e)  Fragment  of  a  male  head  from  eyes  'to  chin.     The  lips  are  parted 
(/)  Part  of  a  left  cheek,  beard  and  moustache. 

(g)  Fragment  with  left  cheek  and  eye  of  a  male  head. 
(h)  Part  of  a  female  head.     Only  the  left  cheek  and  sakkos  with  a 
high,  diadem-like  border  are  preserved.     The  ear  is  well  worked. 
Colouring. — Sakkos,  cream  ;   high  border,  red. 
(i)  Middle  portion   of  a  female  face.     She  seems  to  wear  a  sakkos. 

Part  of  (h)  (?). 

(;')  Finely  modelled  horses'  heads,  Delia  Seta  No.  10107.*  The  neck  is 
strong  and  well  arched,  the  nostrils  inflated,  the  lips  drawn  back  so  that 
the  teeth  are  uncovered.  The  eyes  were  hollowed  to  receive  some  other 
substance,  for  there  are  traces  in  them  of  black  gum.  They  must  have 
faced  towards  the  right,  as  the  left  side  is  unworked.  The  harness  was 
painted  only. 

Colouring. — Cream,  with  red  harness  ;  the  mane  was  rendered  by  wavy 
lines  in  black  and  red  on  a  cream  ground. 

(k)  Bird  (headless)  alighting  with  its  feet  drawn  up  under  it. 

(/)  Animal's  (lion's)  face  with  part  of  the  nose  and  deep-set  eyes.      , 

(m)  Lion's  head  and  neck  with  rough  mane. 

Colouring. — Head,  cream  ;  mane,  black. 

(«)  Torso  of  a  warrior  from  waist.     The  left  leg  was  advanced. 

(o)  Fragment  of  neck  and  chest  of  a  male  figure. 

(/>)  Female  head,  Delia  Seta  No.  10051.  It  is  not  certain  if  this  and 
the  following  fragment  belong  to  the  scene.  The  hair  is  waved  and  crownec 

with  a  diadem. 

(q)  Back  part  of  a  female  head,  Delia  Seta  No.  10278.  The  hair  hangs 
down  in  a  heavy  mass  behind  and  is  looped  up  by  a  band  behind  the  ears. 

1  Rizzo.  op.  cit.,  p.  41. 

*  Rizzo,  op.  cit.,  p.  41  ;  Petersen,  op.  cit.,  p.  I79,g:  Helbig,  11.  p.  352,  No.  1786  a. 


54  AKROTERIA 

(r)  Part  of  a  round  shield  upon  which  is  an  emblem  of  a  centaur, 
Delia  Seta  No.  10081. 

(s)  Gorgoneion  in  relief,  Delia  Seta  No.  10090.  It  has  crossed  eyes, 
the  curved  mouth  is  deeply  embedded  in  the  puffy  cheeks  and  the  tongue 
protrudes. 

(t)  Many  fragments  of  hands,  arms  and  feet,  horses'  legs  and  lions'  paws. 

(vii)  Bolsena  (?).» 

Small  head  of  a  woman.  The  hair  is  in  tight  curls  all  round  the  fore- 
head. The  eyes  consist  of  a  triangular  swelling  between  the  lids  with 
heavily  marked  rims.  The  brows  spring  from  the  root  of  the  nose  in 
sharply  arched  ridges.  The  lips  of  the  small,  bow-shaped  mouth  are  tightly 
closed.  The  head  is  broken  off  at  the  neck  and  is  in  a  very  battered  con- 
dition. V.  Century. 

Colouring. — Cream  slip  for  flesh  ;  hair,  brows,  eye-lids  and  iris,  black  ; 
lips,  red. 

(viii)  Bolsena  (?).« 

Small  head  of  Athena.  The  face  is  rather  long,  with  firmly  modelled 
cheeks  and  full  chin.  The  eyes  are  recessed  within  their  sockets  and  the 
rather  thick  lids  are  carefully  worked.  The  eyes  are  marked  by  a  small 
incised  circle  for  the  pupil  within  the  large  incised  circle  of  the  iris.  The 
full  lips  are  quite  straight.  In  her  ears  are  large  disc-earrings.  The  top 
of  the  head  was  left  rough,  because  the  hair  and  helmet  were  worked  separ- 
ately and  applied  to  the  head  when  finished.  This  gives  a  disagreeable- 
effect  to  what  is  otherwise  a  well-worked  head.  V.  Century. 

Colouring. — Flesh,  cream  ;  lips  and  earrings,  red. 

1  Museo  Archaeologico,  Florence,  Room  IX,  Case  C. 
«  Idem. 


FRIEZES 


FRIEZES 

INTRODUCTION 

FRIEZES  upon  buildings  were  a  common  feature  of  Assyrian  art,  where 
the  exploits  of  the  king  were  commemorated  in  this  manner,  and  the 
Hittites  also  employed  this  form  of  ornamentation.  Excavations 
at  Neandria  in  the  Troad,1  at  Gordion  in  Phrygia,*  at  Ak  Alan  in 
Pontus,3  and  above  all  at  Larisa  in  ^olis,4  show  that  the  practice 
of  employing  terra-cotta  friezes  nourished  in  Asia  Minor  in  the  sixth 
and  fifth  centuries  B.C.  The  relief  from  Palaikastro8  proves  that  in 
Crete  also  this  usage  prevailed.  From  Kythnos  in  the  Cyclades  ' 
comes  a  slab  with  two  bands  of  figures :  on  the  upper,  a  charioteer 
drives  a  biga ;  on  the  lower,  a  nude  youth  on  horseback  gallops  towards 
a  tripod.  Even  on  the  Acropolis  7  a  scene  of  chariot-races  was  found, 
but  both  these  last  two  examples  are  single  slabs,  and  there  or  else- 
where on  the  Greek  mainland  friezes  are  not  forthcoming.  Sicily, 
so  rich  in  splendid  terra-cotta  revetments,  has  thus  far  produced  no 
samples  of  a  continuous  figurative  frieze.  The  fact  suggests  that 
series  of  slabs  used  as  a  frieze  and  also  the  subjects  stamped  upon 
them,  were  brought  direct  to  Latium  and  Etruria  from  Asia  Minor, 
possibly  by  way  of  Crete. 

The  subjects  also  derive  from  Oriental  sources  and  almost  all 
have  their  counterpart  among  the  finds  from  the  aforementioned 
sites.  Even  the  details  of  dress,  armour  or  harness  can  be  paralleled 
upon  Hittite  or  Assyrian  monuments.  Studniczka  *  has  endeavoured 
to  show  that  the  chariots  derive  from  Syrian  models  as  well  as  the 
hogged  manes  of  the  horses  which  superseded  the  earlier  flowing 
manes  which,  like  the  triga,  are  considered  by  him  Assyrian- 
Another  motive  derived  from  Hittite  art 9  is  the  warrior  hidden 

1  Keldewey,  Neandria,  sistes  Berliner  Winckelmannsprogramm. 

2  G.  u.  A.  Korte,  Jb.  d.  Inst.  Ergdnzungsheft,  v  (1903). 

3  Macridy  Bey,  Mitth.  Vorderas.,  Ges.  12,  Jhrg.,  1907,  heft  4. 

4  L.  Kjellberg,  Uppsala  Universitets  Arsskrift  (1903)  ;   Arch.  Am.,  xxi  (1906),  p.  265. 

B  A.B.S.A.,  xi  (1904-5),  p.  300,  pi.  15  ;   Savignoni,  Rom.  Mitt.,  xxi.  (1906),  pp.  64-82,  fig.  i. 
«  E.  Pettier,  B.C.H.,  xxii  (1888),  p.  500. 

7  Pettier,  op.  cit.,  p.  499. 

8  Jb.  d.  Inst.,  xxii  (1907),  pp.  195  f. 

9  F.  Poulsen,  Der  Orient  u.  die  friihgr.  Kunst  (1912),  p.  115. 

57 


58  INTRODUCTION 

behind  his  shield  which  is  found  again  on  the   reliefs  from  Prinia1 
in  the  VII  Century. 

Nachod  *  has  demonstrated  that  the  type  of  chariot  seen  on 
the  reliefs  from  Pitigliano,  Toscanella  and  Velitrse  is  the  original 
Etruscan  type  with  a  parapet  composed  of  three  closely  united 
guards  which  might  be  entirely  or  partially  open,  resembling,  in  fact, 
the  chariot  from  Monteleone.1  This  is  the  type  described  by  Furt- 
wangler  as  "  kleinasiatisch-ionische  Wagenform," 4  but  all  the  evidence 
goes  to  prove  that  Nachod  is  correct  and  that,  while  this  is  the  earlier 
Etruscan  type,  the  chariots  on  the  Praeneste  frieze  and  the  goad 
carried  by  the  woman  driver,  denote  Ionic  influence. 

It  is  noteworthy  that  the  winged  horses  of  the  Velitrae  frieze  have 
flowing  manes,  whereas  the  manes  of  the  horses  without  wings  in  the 
same  scene  are  hogged.  This  may  be  due  to  religious  conservatism 
which  by  such  small  details  marked  the  supernatural  character  of 
the  steeds.  The  same  reason,  too,  probably  applies  to  the  bearded 
deities  of  the  Assembly  relief,  since  all  the  other  protagonists  on  these 
friezes  without  exception  are  clean  shaven. 

The  latest  friezes  are  those  of  the  chariot-race.  The  chariots  are 
very  small  and  light  with  the  four-spoked  wheel  of  the  Greek  mainland. 
But  instead  of  the  long  almost  hieratic  garment  of  the  Greek  charioteer 
as  worn  by  the  Charioteer  of  Delphi  or  those  from  Sicily,  commemo- 
rated on  the  terra-cotta  arulae,8  these  competitors  wear  the  eminently' 
practical  costume  of  a  skin-tight  chiton  and  a  close-fitting  cap, 
thus  conforming  closely  to  the  Oriental  prototype  to  which  they  and 
the  almost  identical  frieze  from  Larisa  •  go  back. 

An  admirable  catalogue  of  these  friezes  was  made  by  G.  Pelle- 
grini 7  who  gave  a  full  bibliography  of  the  earlier  literature  concerning 
the  Velitrae  friezes.  In  consequence,  I  have  cited  only  more  recent 
authorities  and  a  few  modern  illustrations  of  the  various  scenes.  For 
convenience  the  number  of  the  relief  in  Pellegrini's  catalogue  will 
always  be  quoted  first. 

1  L.  Pernier,  Annuario  della  R.  Scuola  Arch,  di  Atene,  i,  pp.  90-8,  fig.  19. 

1  Der  Rennwagen  bei  den  Italikern  (1909). 

3  G.  Richter,  Metropolitan  Mus.,  Gr.,  Etr.,  and  Roman  Bronzes,  No.  40,  pp.  12-29. 

•  Kleine  Schriften,  ii,  p.  322. 

5  Kekul6,  Terrak,  von  Sic.,  p.  460,  pi.  liv,  i  ;   Mon.  Ant.  Lincei,  xix  (1908),  col.  134  ;  Memoirs 
of  the  American  Academy  in  Rome,  ii  (1918),  p.  25. 

•  L.  Kjellberg,  Uppsala  Univ.  Arsskrift,  1903,  pp.  93-5. 

7  "  Fregi  arcaici  etruschi  in  terra-cotta  a  piccole  figure  "  in  Studi  e  Materiali,  i  (1899-1901)  ed. 
L.  Milani,  pp.  86-1 18. 


TYPE  I — "  PROCESSION  OF  ANIMALS  " 

(i)  "  Statonia,"  Pitigliano.1 

Found  among  the  debris  of  a  temple  in  the  locality  called  "  Poggio 
Buco."  At  the  same  time  were  discovered  the  lateral  akroterion  of  a  horse 
(Type  II,  ii)  and  the  gutter-pipes  with  lion's  heads  (i).  Each  slab  consists 
of  three  elements  :  (a)  a  border  of  recurved  flutings,  which  are  here  stunted 
in  appearance ;  (b)  a  medial  figured  field  ;  (c)  a  border  of  guilloche  in  relief. 
The  inner  clay  of  the  slab  is  greyish-yellow  and  full  of  particles  of  mica  and 
silica,  but  in  order  to  render  it  more  resistant  to  the  heat  of  the  furnace,  it 
was  covered  with  a  thin  layer  of  reddish  clay  carefully  purified  to  produce 
a  smooth  surface.  The  only  trace  of  the  once  vivid  colour  of  these  reliefs 
is  a  cream  slip. 

The  procession  of  animals  consists  of  a  stag  grazing  alternating  with  a 
winged  griffin,  one  advancing  with  raised  head,  the  second  seated.  The 
stags  are  alike  in  attitude,  but  vary  as  to  the  details  of  their  horns.  The 
griffins  have  thick  necks,  recurved  wings  and  widely  open  beaks.  Height 
of  slab,  m.  0-215  x  0-520  ;  height  of  field,  m.  0-135.  VI.  Century. 

Processions  of  animals  are  a  frequent  motive  on  ceramics  or  metal 
objects  from  the  VIII.  to  the  VI.  Century.  Similar  grifl&ns,  characterised 
by  the  absence  of  crest,  are  found  on  Etruscan  monuments  of  the  VII. 
and  VI.  Centuries,  especially  upon  bucchero  ware.  A  terra-cotta  frieze  of 
animals  adorned  the  seventh-century  temple  of  Neandria  in  the  Troad.1 

TYPE  II — "  RIDERS  IN  SINGLE  FILE  " 

(i)  "  Statonia,"  Pitigliano.1 

Found  at  the  same  time  and  place  as  the  previous  frieze.     Border  of 
recurved  fluting  above,  guilloche  in  relief  below.     Three  riders  gallop  t 
left.     The  horses  are  thickly  built,  with  flowing  manes  indicated  by  parall< 
lines  on  their  necks.     Each  rider  varies  slightly  in  attitude.     They  have 
long  hair  and  are  unarmed.     Their  raiment  was  probably  supplied  in  colour. 
Height  of  slab,  m.  0-215  X  0-525  ;  height  of  field,  m.  0-135.     VI.  Century. 

i  Pellegrini,  p.  89,  No.  i,  fig.  i  ;  N.S..  1898,  p.  436  ;  Class.  Rev.,  xiii  (1899).  P-  3*9  I  Cat.  Coll., 
Arndt  (1908),  p.  37  (Munich,  Antiquarium). 

*  Koldewey,   Neandria,   sis/.  Berlin   Winckelmannprogram ;    Koch,   Rom.    Mitt.,    a 

''  V Pellegrini,  p.  90,  No.  2,  fig.  2  ;  N.S.,  1898,  p.  437  :  Moretti,  Ausonia.  vi  (1911),  p.  152,  fig-  3  I 
Cat.  Coll.  Arndt  (1908),  p.  37  (Munich,  Antiquarium). 

59 


60  FRIEZES 

This  frieze  should  be  compared  with  the  fragments  from  Mykene,1 
Athens  *  and  Corinth  '  where  a  nude  youth  rides  to  left,  or  that  from  the 
island  of  Kythnos  in  the  Cyclades,'  where  he  gallops  towards  a  tripod.  In 
Velitrae  '  was  found  a  marble  relief  bordered  by  the  same  recurved  fluting 
which  closely  resembles  this  example,  but  is  rather  later  in  date.  The 
scene  is  depicted  with  even  more  life  and  vivacity,  the  horses  have  hogged 
manes  and  are  less  heavily  built.  One  rider  has  fallen  and  is  dragged 
along  by  the  reins. 

(i)  "  Statonia,"  Pitigliano.' 
The  same  scene  to  right. 

(ii)  Toscanella.7 

A  procession  of  four  riders  walking  their  horses  to  left.  The  horses 
are  very  high  with  barrel-like  bodies  and  long  tails.  The  first  and  third 
riders  are  unarmed  ;  the  second  and  fourth  carry  a  large,  round  shield 
which  entirely  conceals  their  body  and  a  spear.  The  treatment  of  the  eyes 
is  very  archaic.  There  are  traces  of  black  on  the  third  horse.  Height  of 
slab,  m.  0-19  x  0-36  ;  height  of  figures,  m.  0-09.  The  clay  is  dark  red. 
Second  half  of  VI.  Century. 

TYPE  III — "  ARMED  RIDERS  IN  PAIRS  " 

* 

(i)  Caere  • ;   Velitrae.9 

Two  warriors  ride  almost  at  a  gallop  to  left.  Their  small,  thick-set 
horses  have  hogged  manes  and  long  tails.  The  near  rider  carries  a  long 
spear  and  a  round  shield  which  completely  covers  his  own  and  his  com- 
panion's body.  The  shield  is  decorated  with  whirligigs.  The  flutings  of 
the  border  are  separated  by  a  narrow  groove.  Height  of  slab,  m.  0-318  X 
0-31  ;  height  of  field,  m.  0-206.  Middle  of  the  VI.  Century. 

Colouring. — Flesh,  red  ;  hair,  black  ;  white  garments  with  black 
details  ;  shields,  purple  border  with  design  in  purple  and  black.  First 
horse,  pale  red  with  dark  red  reins  and  bridle  ;  second  horse,  black  with 
cream  bridle  and  reins.  Ground,  black  ;  flutings  alternately  black  and 
cream. 

»  E.  Pettier,  B.C.H.,  xii  (1888),  p.  496. 

•  Pettier,  op.  cit.,  p.  495. 

3  D.  Robinson,  A.J.A.,  x  (1906),  p.  166,  pi.  xii,  17  ;  Pottier,  op.  cit.,  p.  497. 

•  Pottier,  op.  cit.,  p.  500  ;  now  in  the  Louvre,  Invent.  M.N.B.,  579. 

5  G.  Moretti,  Ausonia,  vi,  (1911),  pp.  147-54,  pi.  vii ;  J.R.S.,  v  (1915),  p.  204. 

•  Sammlung  Arndt,  Munich,  Antiquarium. 

•  Pellegrini,  p.  96,  No.  6,  fig.  5  ;   Louvre,  Ant.  Coll.  Campana  Cat.,  iv,  p.  31. 

1  Pellegrini,  p.  99,  Nos.  12,  13,  Man.  Inst.  Suppl.  pis.  i,  3,  4 ;  Helbig,  M  Manges  Perrot 
(IQ03),  p.  170,  fig.  3  ;  Castellani,  Cat.  de  Vente  (1884),  No.  481,  5  ;  British  Mus.  Cat.  Terrac., 
B.  627  ;  Ny  Carlsberg  Cat.,  ii,  p.  31,  pi.  177,  4,  5  ;  Berlin,  Antiquarium. 

•  N.S.,  1915,  p.  84,  fig.  12. 


FRIEZES  6l 

Helbig  '  has  pointed  out  that  from  the  earliest  times  the  Roman  eqmtes 
seem  to  have  possessed  horses  ;  but  that  they  were  not  a  troop  of  cavalry, 
since  they  dismounted  to  fight.  They  rode  to  battle  mounted  on  one 
horse  and  accompanied  by  a  second  ridden  by  their  squire.  A  similar 
frieze  was  found  at  Larisa  in  ^Eolis  *  ;  there  also  the  riders  are  in  pairs, 
their  spears  arranged  in  a  heraldic  design. 

(ii)  Velitrae  »  ;    Rome,  Palatine  4  ;    Comitium  • ;   Veii.1 

Three  pairs  of  armed  riders  gallop  to  left.  The  horses  are  slim  and  well 
formed,  with  hogged  manes  and  long  tails.  The  near  warrior  has  a  crested 
helmet  and  shield  and  raises  his  hand  to  wield  his  weapon.  The  first 
brandishes  an  axe,  the  second  a  dagger  or  long  curved  knife,  the  third  a 
spear  (?).  The  off  rider  possibly  wears  a  leather  cap.  The  slab  consists  of 
four  elements  :  (a)  fluting  ;  (b)  a  fascia  decorated  with  double  meander  in 
relief  enclosing  squares  alternately  filled  by  an  eight-pointed  star  and  a  swan 
with  wings  now  closed,  now  raised. 

Colouring. — Flesh,  red  ;  weapons,  black  ;  shield,  whirligigs  in  purple 
and  black  with  purple  border  ;  horses,  red  and  cream  alternately.  Ground, 
bright  blue. 

(iii)  Satricum,  Delia  Seta  No.  ioo33.7 

The  slabs  consist  of  (a)  fluting  ;  (b)  torus  painted  with  imbrications  ; 
(c)  field  with  figures  in  relief. 

On  this  frieze  two  groups  of  horsemen  who  ride  abreast  are  alternately 
repeated.  The  near  one  is  dressed  in  Oriental  costume  with  long,  closely 
adhering  ava%vpl§<=<;.  He  draws  his  bow  and  takes  aim,  but  on  one  group 
turns  backward  to  shoot.  In  all  cases  save  one  the  heads  are  turned  full 
face.  It  is  unlikely  that  the  near  rider  is  an  Amazon,  as  has  been  suggested, 
for  the  flesh  is  painted  red.  On  one  slab  the  near  rider  flourishes  a  whip. 
The  horses  are  slender  and  well  formed,  and  the  attitudes  well  express 
rapid  motion.  Indeed,  the  whole  frieze,  even  in  its  battered  condition, 
makes  an  impression  of  dash  and  energy.  Early  VI.  Century. 

1  Helbig,  L'Equitatus  Romain  (Comptes  rendus  Acad.  Inscript.  et  Belles -Lettres,  1904),  pp.  90  ff  ; 
Stuart  Jones,  Companion  to  Roman  History,  pp.  195  f. 

*  L.  Kjellberg,  Uppsala  Univers.  Arsskrift  (1903).  PP-  9°  ff.,  No.  6. 
3  Pellegrini,  p.  104,  No.  19,  fig.  10. 

*  Pellegrini,  p.  106,  No.  22  ;   J.R.S.,  iv  (1914),  p.  184,  pi.  xxxiv,  r  ;    Helbig,  Melanges  Perrot 
(1903),  p.  169,  note  4.     Heads  of  two  horses  to  left. 

6  N.S.,  1900,  p.  320,  fig.  21,  fragment  of  two  feet  only;  p.  326,  fig.  28,  fragment  of  two  warriors 
galloping  to  left ;   J.R.S.,  iv  (1914),  p-  186. 

«  Mus.  Villa  Giulia,  two  horses  galloping  to  left. 

7  N.S.,  1896,  p.  31,  fig.  7  ;  Mengarelli,  Atti  del  Congresso  Intern,  di  Sc.  Star.  (1903),  v,  p.  269  ; 
Petersen,  Rom.  Mitt.,  xii  (1897),  p.  182  ;   Graillot,  Melanges  d'arck.  et  hist.,  1896,  p.   143,  fig.  5  ; 
Pellegrini,  p.  94,  No.  4,  fig.  $a  ;   Helbig,  ii,  p.  349,  No.  1786  a. 


62  FRIEZES 

Colouring. — Red  flesh  ;  near  horse,  cream  with  red  harness  ;  off  horse, 
red. 

These  riders  recall  the  Scythians  of  vase-paintings  who  are  dressed  in 
similar  costume  and  turn  backward  to  shoot,  thus  illustrating  the  words  of 
the  Scholiast  on  Iliad  &,  323  :  rous/iei/  Kpfjra^  rrjv  vevpav  eXrceiv  eVt  rbv  patrrov 
.  .  .  TWV  SKV&MV  ovic  eVt  TOV  (JLCKTTOV  a\X*  €7rl  Tov  wfiov  €\KOVT(OV.  A  good  parallel  is 
the  amphora  from  Vulci  in  the  Museo  Gregoriano.1  There  the  Scythians 
have  looped  the  reins  round  their  bodies  in  order  to  leave  their  hands  free. 
As  many  of  the  riders  from  Satricum  have  their  hands  fully  occupied  in 
aiming  their  bows,  it  is  not  unlikely  that  they  adopted  the  same  device 
for  the  control  of  their  horses. 

(iv)  Satricum,  Delia  Seta  No.  10034. 

Slab  similar  to  the  previous  number,  but  the  horses,  whose  hind-quarters 
only  remain,  are  standing  quietly  to  right. 

(v)  Praeneste  (?),  Delia  Seta  No.  16375.' 

The  numerous  pieces  of  this  frieze  were  bought  from  a  dealer  and  said 
to  come  from  Praeneste.  Two  horses  galloping  almost  abreast  to  right, 
the  near  one  mounted  by  an  Amazon  or  a  male  rider.  The  reliefs  were 
fastened  to  the  wooden  framework  of  the  temple  by  metal  rods  and  it  has 
been  suggested  that  they  decorated  the  raking  cornice  which  would  account 
for  the  fact  that  some  are  turned  to  right,  others  to  left,  and  also  explain 
why  some  of  the  horses  rush  on  with  great  impetus,  for  there  might  have  been 
a  crescendo  of  movement  as  the  apex  was  approached.  Yet  a  slanting 
position  does  not  seem  a  happy  one  for  such  a  theme,  and  the  motion  probably 
increased  as  the  middle  of  the  facade  was  reached.  Many  of  these  friezes 
are  turned  in  both  directions  and  some  of  them  were  proved  by  excavations 
to  have  decorated  the  interior  of  temples,  as  at  Velitrae. 

The  clay  is  greyish  and  so  coarse  that  a  thick  coating  of  strong  colour 
had  to  be  applied  to  hide  its  inequalities.  The  figures  are  almost  in  the 
round,  boldly  modelled,  but  somewhat  stunted  and  thick-set.  The  horses 
have  thick  necks,  blunt  noses  and  sturdy  legs.  The  Amazons  have  plump 
limbs  with  excessively  developed  thighs  and  calves.  All  the  details"  are 
plastically  rendered.  The  horses'  bridles  and  headstalls  are  ornamented 
with  concave  discs  ;  the  reins  of  the  Amazons  have  knots  or  metal  bosses 
at  frequent  intervals.  The  colouring  is  conventional,  for  the  near  horse  is 
alternately  red  or  bluish-black.  The  flesh  of  the  Amazons  is  white,  that  of 
the  male  riders,  red.  End  of  VI.  Century. 

The  best  preserved  fragments  are  : 

(a)  No.  16375.  An  Amazon  riding  to  right  wearing  a  chiton  and  greaves. 
Two  long  pearl-locks  hang  over  her  left  shoulder. 

1  DGmmler,  Rdm.  Mitt.,  ii  (1887),  pp.  185  f.  *  Helbig,  ii,  p.  342,  No.  1783. 


FRIEZES  63 

Colouring.— White  flesh  ;    black  hair  ;    bluish-black  horse. 

(b)  No.  16376.     A  man  rides  one  horse  and  is  accompanied  by  a  second  • 
two  legs  of  the  horses. 

Colouring.— Rider,  red  flesh,  black  chiton.  First  horse,  crimson  ;  second 
horse,  black. 

(c)  No.  16378.  Red  bodies  of  horses  galloping  to  left. 

(d)  No.   16379.  Very  rubbed  ;    forequarters  of  horses  to  left. 

(e)  No.  16380.  Fragment  of  two  horses  to  left,  the  fetlocks  and  hind- 
hoofs  resting  on  a  base. 

Colouring. — Black  horse  with  white  eyeballs  and  black  eyes  ;   red  base. 

(/)  No.  16381.  Heads  and  bodies  of  three  horses  to  right  with  the  leg 
of  the  rider,  to  which  belong  the  fragments  with  the  fore  and  hind-legs  of 
the  horses. 

Colouring. — First  horse,  black  with  a  red  mane  ;  second  horse,  cream 
with  red  harness. 

(g)  No.  16383.     Two  horses'  heads  to  right. 

(h)  No.  16384.     Ditto. 

(t)  No.  16385.     Ditto  to  left. 

(j)  No.  16386.    Two  horses. 

(k)  No.  16391.     Legs  of  horses. 

(/)  The  body  of  an  Amazon  presented  frontally. 

Colouring. — White  flesh  ;  black  chiton  with  a  red  border  over  the 
shoulders  and  a  white  one  round  the  neck. 

(m)  Chest  and  arm  of  male  rider  with  a  lion's  skin  knotted  on  the  chest. 
The  arm,  with  red  flesh,  is  bent  at  the  elbow  with  the  palm  outwards. 

(vi)  Unknown  provenance,  Mus.  Villa  Giulia.1 

A  fragment  with  the  heads  of  two  horses  to  left ;  their  necks  are  strained 
forward  and  their  mouths  open  with  the  lips  drawn  back  as  if  they  were 
galloping  furiously.  The  scale  is  smaller  than  those  of  the  previous  number. 
The  fine  clay  is  bright  red.  Much  rubbed.  V.  Century. 

Colouring. — Cream  (?)  with  dark  red  harness.  Black,  wavy  lines 
depict  the  manes. 

TYPE  IV.  "  CHARIOTS  AND  WARRIORS" 

(i)  "  Statonia,"  Pitigliano.1 

This  frieze  was  found  at  the  locality  called  "  Poggie  Buco  "  with  Type 
I,  i  and  Type  II,  i  and,  like  them,  has  a  heavy  stunted  fluting  above  and  a 
guilloche  below  the  main  field.  But  the  relief  is  higher,  the  execution  more 
accurate. 

1  Helbig,  ii,  p.  342,  No.  1783. 

*  Pellegrini,  p.  92,  No.  3,  fig.  3  ;  N.S.,  1898,  p.  437;  Helbig,  Melanges  Perrot  (1903),  P-  169: 
Savignoni,  Rom.  Mitt.,  xxi  (1906),  p.  68,  note  2. 


IO 


64  FRIEZES 

Almost  in  the  middle  of  the  slab  is  a  chariot  drawn  by  two  horses  upon 
which  the  driver  stands  ;  he  holds  a  whip  with  a  double  lash.  Beside  him 
stands  a  warrior.  The  chariot  is  a  mere  platform  with  a  solid  parapet  like 
the  chariot  from  Monteleone  and  the  wheel  has  eight  spokes.  This  Nachod  l 
considers  the  original  Etruscan  type  of  chariot.  The  horses  are  yoked  to  a 
very  long  chariot-pole  and  step  forward  quietly  :  they  have  flowing  manes. 
An  armed  man  on  foot  follows  the  chariot,  grasping  a  sword  in  his  right 
hand.  Three  others  lead  the  procession,  the  first  two  armed  with  round 
shields,  crested  helmets  with  fixed  cheek-pieces  and  two  spears  each  ;  the 
third  carries  one  spear  only.  Height  of  slab,  m.  0*26  X  0-55  ;  height  of 
field,  m.  0*155.  VI.  Century. 

There  is  nothing  to  show  this  is  a  religious  procession  except  the  sedate- 
ness  of  gait.  The  Luynes  relief  *  and  that  found  at  Palaikastro  *  display 
much  more  animated  scenes,  with  horses  at  full  gallop,  either  the  departure 
to  battle  or  the  actual  assault.  But  on  these  reliefs  the  horses  either  stand 
still  or  move  forward  slowly  in  the  style  of  a  solemn  cortege.  Only  in  the 
scenes  of  chariot-races  is  there  any  rapid  motion. 

(ii)  Toscanella  * ;   Rome,  Palatine.1 

Recurved  fluting  above.  Here  the  scene  is  even  more  tranquil.  The 
horses  stand  facing  to  right  and  the  driver  holding  the  long  reins  is  on 
the  chariot  which  has  a  higher,  more  encircling  parapet  and  a  six-spoked 
wheel.  A  warrior  armed  with  a  crested  helmet,  cuirass,  round  shield  and 
spear  is  about  to  mount  the  chariot.  In  front  of  the  horses  walk  two 
men  similarly  armed  and  a  leader,  or  augur,  who  wears  a  long,  stiff  mantle 
and  carries  a  curved  rod.  The  clay  is  red  ;  all  traces  of  colour  have  dis- 
appeared. Height  of  slab,  m.  0-26  X  0-56 ;  height  of  field,  m.  0-18 
VI.  Century. 

The  motive  of  the  warrior  about  to  mount  the  chariot  seems  to  be  an 
Oriental  one.  A  similar  scene  is  stamped  on  a  vase  fragment  found  on  the 
Acropolis,  Athens,'  on  an  ex-voto  relief  from  Eleusis,7  and  is  frequent  on 
b.f.  vases  to  depict  the  departure  of  Amphiaraos. 

1  Der  Rennwagen  bei  den  Italikcrn,  No.  37,  pp.  52,  70,  71  ;   Studniczka,  Jb.  d.  Inst.,  xxii  (1907), 

p.  195- 

1  Babelon,  Cat.  Ant.  de  la  Bibl.  Nat.,  pi.  iv  ;  O.  Rayet,  Gaz.  Archiol.,  1883,  pp.  305-8,  pi.  49  ; 
H.  Koch,  Rdm.  Mitt.,  xxx  (1915),  p.  39,  fig.  23. 

3  A.B.S.A.,  xi  (1904-5),  pp.  300-4,  pi.  15  ;  Savignoni,  Rdm.  Mitt.,  xxi  (1906),  pp.  64-82,  fig.  i  ; 
H.  Koch,  op.  cit.,  p.  40,  fig.  24. 

•  Louvre,  Ant.   Coll.   Campana  Cat.,  iv.,   p.  26;    Pellegrini,    p.   94,    No.   5,   fig.    4;    Nachod, 
op.  cit.,  No.  38  ;    Pottier,  B.C.H.,  xii  (1888),  p.  507,  fig.  in  text ;    Furtwangler,  Kleine  Schrifteni 
ii,  p.  322  ;    Helbig,  Melanges  Perrot  (1903),  p.  168,  fig.  I  ;  Christ,  Antiquarium,  Miincken  (1901), 
p.  8,  No.  914. 

•  N.S.,  1907,  p.  541,  fig.  64,  hind-legs  of  a  horse,  and  leg  of  warrior  encased  in  a  greave  ;  fig. 
65,  wheel,  and  foot  of  warrior  about  to  mount ;  J.R.S.,  iv  (1914),  p.  184. 

•  Pottier,  op.  cit.,  p.  493,  fig.  in  text.  7  Pottier,  op.  cit.,  p.  500. 


FRIEZES  65 

(iii)  Toscanella.1 

The  same  scene  to  left. 

(iv)  Caere  ' ;  Veil  * ;  Corneto.* 

Scenes  complete  upon  one  slab  with  concave,  recurved  fluting  above  and 
a  narrow  fillet  below.  Two  horses  stand  to  right,  harnessed  to  a  chariot 
upon  which  stands  the  driver.  He  wears  a  short  chiton  and  has  long, 
thick  hair.  Behind  him  a  warrior  puts  his  foot  on  the  chariot  and  grasps 
the  stanchion  to  assist  himself  to  mount.  He  has  a  crested  helmet  and  a 
metal  cuirass  over  a  short  chiton  and  carries  a  spear.  Both  horses  have 
thick  forelocks,  slim  bodies  and  long  tails.  The  reins  are  tied  in  a  knot 
and  passed  through  a  ring  on  the  horses'  collars.  The  chariot  has  a  low, 
thick  platform,  a  five-spoked  wheel  and  a  triangular  projecting  hood  or 
antyx  which  protected  the  legs  of  the  occupants.  At  the  sides  are  curved 
handles  or  rims  and,  on  the  right,  the  stanchion  with  which  the  passenger 
pulled  himself  up  and  steadied  himself.  Nachod '  considers  that  this  type  of 
chariot  shows  strong  Ionic  influence.  Height  of  slab,  0*31  m.  VI.  Century. 

Colouring. — Flesh,  Trrepvyes,  crest,  shaft  of  spear,  reins,  stanchion  and 
rims  of  chariot,  red  ;  hair,  borders  of  garments,  spear-head,  antyx,  details 
of  manes,  eyes  of  men  and  of  horses,  black  ;  chariot,  harness,  chitons, 
cream.  The  details  of  the  off-horse  are  usually  indicated  in  colour  only. 
Ground,  dark  red.  The  fluting  is  red,  black  and  cream  alternately,  outlined 
by  a  groove  of  black  or  white.  The  narrow  fillet  below  is  black  or  purple. 

(v)  Caere.8 

The  same  scene  to  left.  Louvre,  height,  m.  o-n  X  0-13.  Berlin, 
height,  m.  0-315  X  0-43. 

(vi)  Caere.* 

Fragments  of  a  slab  with  four  horses  standing  to  right.  In  type  and 
harness  they  exactly  resemble  the  previous  number.  The  fourth  horse  is 
outlined  only  on  the  background,  with  the  exception  of  his  head  which  he 
tosses.  Height,  m.  0-20  X  0-12.  The  second  fragment  shows  the  lower 
part  of  the  chariot  with  the  antyx. 

Colouring. — First  and  third  horses,  dark  red  with  cream  manes  striped 

i  Christ,  Antiquarium,  Munchen  (1901),  p.  8,  915  ;  Furtwangler,  Antiquarium  (1907),  P-  i?  '• 
Korte,  Jb.  d.  Inst,  Ergdnzungsheft,  v  (1904),  p.  159,  note  28  ;  Nachod,  op.  cit.,  p.  52. 

*  Pellegrini,  p.  98,  No.  10  ;    Berlin,  Antiquarium  ;   Mon.  Inst.  Suppl.,  pi.  ii,  2  ;    Ny  Carlsberg 
Cat.,  ii,  p.  30,  pi.  177,  2  ;  British  Mus.  Cat.  Terrac.,  B.  626,  2,   18-20  ;  Nachod.  op.  cit.,  p.  60. 

No.  74  a-c. 

3  Mus.  Villa  Giulia  ;  pale  red  clay  ;  no  colour.     The  work  is  less  fine  than  that  from  Caere. 

*  Mus.  Municipale  ;   Nachod,  op.  cit.,  p.  60  d. 
5    Op.  oil.,  p.  60. 

*  Pellegrini,  p.  97,  Nos.  8,  10,  fig.  7  ;  Ant.  Coll.  Campana  Cat.,  iv,  p.  31  :  Berlin,  Antiqua 
7  Ny  Carlsberg  Cat.,  ii,  p.  30,  pi.  171,  i. 


66  FRIEZES 

with  black  ;  second  and  fourth  horses,  cream,  with  red  mane  striped  with 
black.  Chariot-pole,  dark  red  ;  reins  and  harness,  black  with  a  cream 
border. 

(vii)  Caere.1 

Here  the  warrior  has  already  mounted  the  chariot  and  the  horses  pace 
forward  to  right  with  raised  heads.  The  driver  holds  the  reins  in  both  hands 
and  the  warrior,  holding  the  spear  in  his  left  hand,  steadies  himself  by 
holding  on  to  the  stanchion  with  his  right.  Details  of  the  harness  and 
chariot  are  as  the  previous  number.  Height  of  slab,  m.  0-323  X  0-365.  VI. 
Century. 

Colouring. — As  before. 

This  type,  where  both  men  stand  in  the  chariot,  seems  to  be  an  abbrevia- 
tion of  the  hunting  scenes  of  Oriental  art.  A  frieze  from  Gordion  in  Phrygia  * 
shows  two  men  on  a  chariot  preceded  by  an  armed  retainer  on  foot.  In 
the  background  are  small  stags  at  which  the  driver  seems  to  be  aiming  his 
bow.  It  is  a  common  theme  of  Assyrian  art,  either  as  a  departure  to  war  or 
a  lion-hunt.1 

TYPE  V — "  CHARIOTS  WITH  WINGED  HORSES  " 

(i)  Praeneste,  Delia  Seta  No.  27038.' 

Found  in  the  locality  called  Columbella.  It  is  composed  of  three 
elements  :  (a)  high,  narrow,  convex  flutings  ;  (b)  a  fillet  ;  (c)  the  field 
with  figures  in  very  low  relief,  painted  with  strong,  crude  colours  to  hide 
the  inequalities  of  the  clay. 

The  procession  advances  toward  the  left,  led  by  a  man  wearing  a  short 
chiton  and  crested  helmet  who  holds  in  his  left  hand  a  curved  trumpet. 
After  him  trot  three  winged  horses  drawing  a  chariot  driven  by  a  woman 
who  holds  the  reins  in  both  hands  and  a  goad  in  her  right.  A  warrior  is 
just  about  to  step  on  to  the  chariot.  He  appears  to  wear  a  linen  corselet 
and  a  crested  helmet.  The  chariot  has  a  low  parapet  in  front  and  an  orna- 
mental rail  round  the  sides ;  the  wheels  have  eight  spokes.  These  chariots, 
according  to  Nachod,  are  under  strong  Hellenic  influence.  On  the  farther 
side  of  the  horses  is  a  dog.  The  second  chariot,  the  antyx  decorated  with 
a  palmette,  has  two  horses  without  wings  and  is  driven  by  a  man  in  a  short 
chiton  and  crested  helmet  who  holds  the  reins  with  both  hands  and  a  goad 
in  his  right.  Beside  the  horses  walks  a  man  wearing  a  chiton,  petasos  and 

1  Pellegrini,  p.  99,  No.  n  ;  British  Mus.  Cat.  Terrac.,  B.  626  ;  Ny  Carlsberg  Cat.,  ii,  p.  30,  pi. 
177,  3  ;  Berlin,  Antiquarium  ;  Man.  Inst.  Suppl.,  pi.  i,  i. 

1  G.  u.  A.  K6rte,  Jb.  d.  Inst.  Engdnzungsheft,  v  (1904),  pp.  157-60,  fig.  141. 

3  Perrot,  Hist,  de  I'  art.,  ii,  pi.  xii,  figs.  307,  351. 

4  N.S.,  1905,  pp.  124  f,  fig.  i  ;  1915,  p.  80,  note  2  ;  Nachod,  op.  cit.,  p.  62,  No.  77  ;  Helbig,  ii, 
p.  217,  No.  1514. 


FRIEZES  6/ 

greaves,  and  carrying  a  curved  rod  or  lituus  in  his  left  hand,  whilst  he  raises 
his  right  with  the  palm  turned  outward.  The  features  are  scarcely  modelled. 
The  number  of  the  slab  in  the  series  is  marked  on  the  plain  back  in  large 
cyphers  ;  this  bears  the  number  V.  above  on  the  left  and  VI.  on  the  right. 
Height  of  slab,  m.  0*250  X  0-565.  VI.  Century. 

Colouring.— Flesh  of  men,  dark  red  ;  of  the  woman,  white ;  the 
eyes,  very  large,  are  outlined  black,  with  a  white  eyeball  and  black  iris. 
Trumpeter,  white  chiton,  with  dark  red  border  and  girdle,  helmet  with 
crest  white,  yellow  and  red,  white  greaves.  First  and  third  horses,  red 
with  white  manes,  white  wings,  with  feathers  marked  in  red  and  black  ; 
second  horse,  white  ;  dog,  white.  Woman  driver,  dark  red  hair,  white 
chiton  with  dark  red  border.  Warrior,  white  helmet,  cuirass  and  greaves ; 
dark  red  chiton.  Second  chariot  :  first  horse,  white  ;  second,  red  ;  red 
harness.  Augur,  white  chiton,  petasos,  greaves  and  lituus.  Driver,  white 
helmet  ;  white  crest  with  a  red  edge  ;  white  chiton  with  red  border. 
Chariots,  white  with  red  rails.  Ground,  black.  The  flutings  are  white, 
the  grooves  separating  them  being  coloured  red,  white  and  black  alternately. 

The  winged  horses  and  the  woman  driver  seem  to  imply  a  legendary 
subject  or  the  passage  of  the  heroised  dead.  In  the  analogous  scenes  on  the 
Hagia  Triada  sarcophagus  l  the  drivers  are  women,  although  in  one  case 
the  chariot  is  drawn  by  winged  griffins.  But  here  the  chariot  which  follows 
has  a  steed  without  wings  and  is  in  no  way  supernatural.  From  other 
examples  it  appears  that  wings  were  sometimes  added  to  otherwise  natural 
beings  to  denote  super-excellence  of  speed  ;  as,  for  instance,  the  ivory  reliefs 
from  Corneto  *  where  both  the  horses  drawing  the  chariot  and  the  hunter 
on  foot  are  winged.  A  chariot  with  winged  horses  is  a  frequent  motive  on 
gems  and  signets,*  and  is  figured  on  the  Monteleone  chariot.4 

(ii)  Prseneste." 

Part  of  the  same  scene  to  right.  Broken  and  much  rubbed.  Only  part 
of  the  driver  of  the  second  chariot  with  the  horses,  the  augur  beside  them, 
and  the  right  leg  of  the  warrior  mounting  the  first  chariot,  are  preserved. 
Height,  m.  0-27  x  0-30. 

(iii)  Rome,  Palatine.' 

Fragment  from  a  similar  frieze.  The  bodies  of  two  horses  standing  to 
left  with  heavy  collars.  Beside  them  is  a  man  in  a  short  chiton  with  four 

1  Mon.  Ant.  Lincei,  xix  (1908),  pp.  55-62,  pi.  iii. 

*  Mon.  dell'  Inst.,  vi,  pi.  xlvi,  2,  3  ;  Ann.  Inst.,  xxxii  (1860),  pp.  478-81. 

3  Furtwangler,  Ant.  Gemmen,  ii,  pi.  vii,  i  ;  iii,  p.  74,  figs,  57"60- 

«  G.  Richter,  Metropolitan  Mus.  Gr.,  Etr.,  and  Roman  Bronzes,  No.  40. 

8  Local  Mus.;  N.S.,  1908,  p.  no,  fig.  i. 

«  Pellegrini,  p,  106,  No.  22  ;  J.R.S.,  iv  (1914).  P-  J9i,  pi-  xxxiv,  2. 


68  FRIEZES 

long  locks  hanging  over  his  shoulder.  In  his  raised  right  hand  he  holds  a 
curved  rod.  He  turns  his  head  to  look  back  at  those  who  follow.  End 
of  VI.  Century. 

Colouring. — Near  horse,  white  ;  off-horse,  red  ;  red  and  black  harness. 
Man,  red  flesh  ;  black  hair  ;  white  chiton  ;  rod  with  red  shaft.  The 
colours  are  heavy,  crude  tones  like  those  of  the  Praeneste  frieze. 

(iv)  Velitrae  1  ;   Rome,  Esquiline  • ;   Palatine.1 

A  procession  to  right  led  by  a  man  in  a  petasos  and  short  chiton  who 
carries  a  long  staff  surmounted  by  a  caduceus.  Next  comes  a  chariot  drawn 
by  three  horses  with  proudly  arched  necks  and  hogged  manes.  Beside 
the  horses  walks  a  man  with  long  hair,  carrying  a  spear  slantwise  over  his 
shoulder.  On  the  chariot  are  two  men,  the  driver  who  holds  the  reins  in 
both  hands,  and  a  passenger  who  grasps  the  stanchion.  The  chariot  has  a 
solid  parapet  and  a  six-spoked  wheel.  Immediately  behind  prance  the  two 
horses  of  the  second  chariot,  who  have  long  manes  and  large,  recurved  wings. 
The  driver  holds  the  reins  in  both  hands  and  a  whip  with  double  lash  in  his 
right.  His  companion  wears  a  short  chiton  and  a  long  mantle  weighted 
down  at  the  corners  by  acorns.  He  rests  his  right  hand  on  his  hips  and  lays 
his  left  on  the  driver's  shoulder.  All  the  men  are  clean-shaven  and  have 
long  hair  which  hangs  in  a  heavy  mass  over  their  backs  and  shoulders. 
The  border  above  is  of  concave,  recurved  flutings  separated  from  the  field 
by  a  narrow  fillet.  The  slabs  recently  found  at  Velitrae  have  a  convex 
moulding  painted  with  imbrications  between  the  fluting  and  the  field, 
as  Naples  No.  1032.  Height  of  slab,  m.  0-36  x  0-71  ;  height  of  field, 

m.  0-20.    Middle  of  VI  Century. 

Colouring. — Red  flesh  ;    black  hair  ;    white  garments  ;    horses  red  and 

black  alternately  ;    ground,  bright  blue. 

(v)  Velitrae.4 

The  same  scene  to  left,  but  a  man  on  foot  follows  the  chariot  with 
winged  horses. 

1  Pellegrini,  pp.  101  f,  Nos.  14,  15,  fig.  8  ;  Naples  Mus.,  Nos.  131,  134,  136,  137,  142-4  ;  Velitrae 
Mus.  Municipale,  N.S.,  1915,  p.  79,  fig.  6  ;  Helbig,  Melanges  Perrot  (1903),  p.  169  ;  Pollak,  Rom. 
Mitt.,  xxi  (1906),  pp.  314-30,  pi.  xvi ;  G.  Moretti,  Ausonia,  vi  (1911),  p.  152,  fig.  2. 

*  Bull.  Com.,  1875,  p.  51,  pis.  vi-viii,  I  ;   Pinza,  Man.  Ant.  Lined,  xv  (1905),  p.  212,  fig.  90  ; 
Nachod,  op.  cit.,  p.  52,  No.  396  ;  Springer-Ricci,  St.  dell'  Artc,  i,  p.  419,  fig.  759  ;  J.R.S.,  iv  (1914). 
p.  188  ;  Dennis,  Cities  and  Cemeteries  of  Etruria,  3rd  ed.,  ii,  p.  494  ;  Montelius,  Civ.  prim,  en  Italic, 
pi.  361,  17. 

*  Fragment   with   recurved   wing   of   horse  and   the    reins   which   pass   behind    it.     Height, 
m.  0-095  x  0-08 ;    Mus.  Nazionale,  one  fragment  with  the  bodies  of  the  second  driver  and  his 
companion  ;  another  fragment  with  the  body  of  the  companion  only  ;   a  third  has  the  fluting  and 
convex  moulding  with  imbrications.     N.S.,  1896,  p.  291 ;  J.R.S.,  iv  (1914),  p.  184,  pi.  xxxiv,  4-6. 

4  Naples  Mus.,  Nos.  1031,  1036,  1037,  1043  ;  Pellegrini,  p.  102,  No.  16  ;  Velitrae,  Mus.  Mun., 
N.S.,  1915,  p.  80,  fig.  7. 


FRIEZES  69 

TYPE  VI—"  CHARIOT-RACES  " 

(i)  Velitrse  l  ;   Rome,  Palatine.1 

This  frieze  resembles  Type  III,  ii,  in  that  it  consists  of  three  elements  : 
(a)  fluting;  (6)  fascia  with  meander  in  relief  enclosing  squares  filled 
alternately  with  an  eight-pointed  star  and  a  swan  with  wings,  now  closed, 
now  raised  ;  (c)  field  of  relief  whereon  is  a  race  to  right.  A  chariot  leads 
the  way  drawn  by  three  horses  galloping  at  utmost  speed.  They  have 
slender  bodies,  long  tails  and  hogged  manes.  The  chariot  is  very  small  and 
light  with  a  four-spoked  wheel.  The  driver  has  a  short,  tight  chiton  and 
a  conical  cap  with  a  tassel.  He  holds  a  whip  in  his  right  hand  and  leans 
forward  to  encourage  the  horses.  In  the  background,  a  few  paces  behind, 
is  a  biga  ;  the  driver  is  bare-headed  and  turns  his  head  to  look  back  at  the 
second  biga,  which  gains  upon  him.  Under  these  last  horses  runs  a  hare. 
The  figures  are  well  worked  and  the  scene  is  full  of  animation  and  cleverly 
adapted  to  the  space.  Height  of  slab,  m.  0-36  x  071  ;  height  of  field, 
m.  0-20.  VI.-V.  Centuries. 

Colouring. — Horses,  cream  and  red  alternately,  with  muscles  and  harness 
in  black.  Drivers,  red  flesh  ;  black  hair  ;  cream  chitons.  Ground,  bright 
blue. 

A  somewhat  similar  design  appears  on  the  fragment  of  a  plaque  found 
on  the  Acropolis,  Athens,  in  March  1888.'  Among  the  friezes  at  Larisa  in 
^Eolis  4  were  slabs  of  a  chariot-race  where  hounds  and  hares  filled  the  spaces 
below  the  horses'  bodies.  This  motive  is  reminiscent  of  the  Oriental 
hunting  scenes  where  such  creatures  are  more  logically  introduced.1 

TYPE  VII—"  ASSEMBLY  OF  DEITIES  " 
(i)  Velitra.6 

The  five  deities  are  seated  one  behind  the  other  in  the  conventional 
arrangement  shown  on  the  Treasury  of  the  "  Siphnians  "  at  Delphi  or  the 
Parthenon  frieze.  They  face  towards  the  left  and  are  approached  by  two 

i  Naples  Mus.,  Nos.  1032,  1036.  1041,  1045,  1046  ;  Pellegrini,  p.  102,  Nos.  17,  18,  fig.  9  ;  Velitra. 
Mus.  Mun.,  N.S.,  1915,  pp.  82  f,  figs.  9,  10. 

*  N.S     1907  pp.  273,  452,  fig.  21,  part  of  a  wheel ;  fig.  23,  the  body  of  a  horse  ;  neck  of  horse 
and  hands' of  the  driver  ;  horses'  feet ;  p.  54°.  fig-  62.  legs  of  horses  with  chariot-pole  and  leg  of  hare 
fig.  63,  hare  ;    four  horses  galloping  right,  height,  m.  o-H  X  0-17.     In  a  Republican  house 

the  Lararium  were  found  two  slabs  of  this  frieze  ;  the  fluting  is  perfect,  but  on  one  example 
swans  have  been  stamped  upside  down,  J.R.S.,  iv  (1914).  P-  l84- 
a  Pottier,  B.C.H.,  xii  (1888),  p.  499- 

*  L.  Kjellberg,  Uppsala  Univ.  Arsskrift  (1903),  pp.  94-6  I   Koch,  Rom  Mitt.,  xxx        15).  P-  < 
e  G.  Loescheke,  A.Z.,  xxxix  (1881),  pp.  30-52,  pis.  iii-x. 

«  Naples  Mus.,  Nos.  1033,  1042  ;  Pellegrini,  p.  105,  No.  21.  fig.  12  ;  Velitre,  Mus.  Mun.;  N.S.. 
1915,  p.  83,  fig.  ii. 


70  FRIEZES 

worshippers  or  ministrants,  the  foremost  wearing  a  short  chiton  and  carrying 
a  bow  in  his  right  hand,  whilst  he  raises  his  left  in  salutation.  The  second 
wears  a  longer  chiton  reaching  to  below  the  knees.  The  first  deity  is  a 
mature,  bearded  man,  clad  in  a  chiton  and  himation,  seated  upon  a  folding 
stool  and  holding  a  long  sceptre  in  his  right  hand.  Behind  him  sits  a  younger 
unbearded  god  who  holds  a  curved  staff  or  lituus  in  his  right  hand  and  catches 
hold  of  the  back  of  his  stool  as  he  twists  round  to  speak  to  his  neighbour 
who  leans  forward,  supporting  his  chin  on  his  right  hand  with  his  elbow 
propped  on  his  knee.  His  other  arm  is  tucked  behind  him  and  on  his 
head  is  a  conical  cap  or  tutulus.  The  fourth  divinity  is  also  bearded  and 
sits  bolt  upright,  holding  his  sceptre  and  with  his  left  arm  lying  on  his 
knee,  an  attitude  repeated  by  the  last  who  raises  his  right  hand  as  if  to 
attract  attention.  This  is  the  only  instance  of  bearded  figures  in  these 
friezes,  and  these  beards  were  evidently  considered  to  confer  dignity  upon 
the  gods  who  are  much  bigger  than  their  worshippers,  partly  owing  to  their 
greater  importance,  but  also  because  the  artist  was  governed  by  the  rules 
of  isocephaly.  Second  half  of  VI.  Century. 

Colouring. — Ground,  bright  blue.     Colour  disappeared. 

(ii)  Unknown  provenance.1 

The  same  scene  to  right.  Fragments  :  the  first  bearded  divinity  holding 
a  sceptre.  Coarse  clay.  Height,  m.  0*13. 

TYPE  VIII — "  SYMPOSIUM  " 

(i)  Velitrae  * ;    Rome,  Palatine  * ;    Caere.4 

Above  the  relief  is  a  convex  moulding  painted  with  imbrications,  sur- 
mounted by  the  fluting.  Upon  two  klinai  lie  two  pairs  of  banqueters 
ministered  to  by  attendants.  On  the  kline  to  right  reposes  a  youth  and  a 
woman  who  support  themselves  on  their  left  elbows  propped  upon  folded 
cushions.  The  youth  wears  a  chiton  and  himation  and  has  a  fillet  or  wreath 
round  his  head.  He  raises  his  right  hand  and  addresses  his  companion, 
who  turns  round  to  listen.  She  has  a  chiton  with  a  little,  short-sleeved 
bodice  and  a  tutulus  and  holds  a  goblet.  At  the  head  of  the  kline  is  a 
small  attendant,  and  at  the  foot,  in  the  background,  a  second  carrying  a 
fillet  in  his  right  hand.  On  the  second  kline  reclines  a  youth  dressed  like 

1  Florence,  Mus.  Arch.;  Pellegrini,  p.  107,  No.  23,  fig.  13. 

1  Naples  Mus.,  Nos.  1031,  1032,  1035,  1036;  Pellegrini,  p.  105,  No.  20,  fig.  n  ;  Velitrae,  Mus. 
Mun.;  N.S.,  1915,  p.  81,  fig.  8. 

3  Mus.  Nazionale  :   fragment  with  the  first  kline,  parts  of  the  two  bodies,  table,  dog,  and  duck ; 
Pellegrini,  p.  106,  No.  22  ;  J.R.S.,  iv  (1914),  p.  184,  pi.  xxxxiv,  3  ;  Helbig,  ii,  p.  216,  No.  1508. 

4  Louvre,  Sala  di  Caere,  No.  358  ;    Ant.  Coll.  Campana  Cat.,  iv,  p.  31 ;  Pellegrini,  p.  97,  No.  9, 
fig.  6. 


FRIEZES  71 

the  former  one,  but  holding  a  rhyton  in  his  left  hand  and  raising  his  right. 
His  companion,  a  woman,  wears  a  long  chiton  and  tutulus  and  holds  a  flower 
in  her  right  hand,  a  goblet  in  her  left.  At  the  foot  of  the  kline  is  a  cup- 
bearer, holding  an  cenochce  in  his  left  hand  and  extending  his  right  towards 
the  f casters.  Between  the  two  klinai  stands  a  girl  flute-player,  facing  right, 
blowing  the  double  flute.  She  has  long  hair  and  a  short,  stiff  garment  or 
bodice  over  a  thin  chiton  reaching  to  her  ankles.  Before  each  kline  is  a 
low  table  beneath  which  is  a  dog  and  a  duck.  On  the  frieze  from  Caere 
the  second  figure  lying  on  the  first  kline  is  a  youth  who  holds  a  large 
knife  in  his  left  hand  and  in  his  right  a  goblet  which  he  balances  on  his 
hunched-up  knees.  The  fourth  feaster  held  a  lyre. 

The  klinai  are  Ionic  in  type,  like  those  of  the  terra-cotta  sarcophagus 
from  Caere,1  and  are  covered  by  a  mattress  with  overlapping  ends  and  a 
folded  cushion  for  each  guest.  The  scene  is  lively  and  full  of  homely  details. 
Here  no  law  of  isocephaly  is  observed,  for  the  heights  of  the  figures  vary 
considerably.  A  precisely  similar  scene  was  reproduced  on  a  frieze  at 
Larisa  in  ^Eolis,2  and  also  on  a  ceramic  tripod  from  Tanagra,  except  that 
the  flute-player  turns  to  the  left.'  Height  of  slab,  m.  0-36  x  071  ;  height 
of  field,  m.  0'20.  End  of  VI.  Century. 

TYPE  IX—"  DANCES  " 

• 

(i)  "  Statonia,"  Pitigliano.* 

Two  small  fragments  from  a  frieze  which  must  have  adorned  the  exterior 
of  the  temple.  The  first  represents  the  upper  part  of  a  female  figure  leaning 
forward  with  left  arm  raised  and  head  covered  by  a  cap.  The  second  shows 
the  lower  part  of  the  dress  and  feet  of  a  woman  whose  knees  are  bent, 
almost  in  the  attitude  of  kneeling,  intent  upon  raising  the  hem  of  her 
garment.  In  front  of  her  right  leg  is  the  left  leg  of  another  figure  in  nearly 
the  same  attitude. 

The  proportions  are  almost  identical  with  the  procession  of  chariots. 

VI.  Century. 

(ii)  Rome,  Palatine.1 

Found  at  the  top  of  the  "  Steps  of  Cacus."  A  fragment  with  two 
maidens  from  head  to  waist,  advancing  to  left.  Much  rubbed.  eight, 
m.  0-073  X  0-084.  VI.  Century. 

Savignoni,  Man.  Ant.  Lincei,  viii  (1898),  pi.  xiii. 

L.  Kjellberg,  Uppsala  Univ.  Arsskrift  (1903),  pp.  QO  ff  ;  Koch,  R6m.  Mitt.,  xxx  (19x5),  P-  9- 
Loescheke,  A.Z.,  xxxix  (1881),  pp.  3<>-52,pls.  iii,  iv. 
N.S.,  1898,  p.  438,  No.  7  ;  Class.  Rev.,  1899,  P-  329- 
N.S.,  1907.  p.  273,  fig.  15  ;  J.R.S..  iv  (I9M).  P-  I84- 
II 


72  FRIEZES 

(iii)  Unknown  provenance,  Delia  Seta  No.  25I74.1 

A  much-rubbed  fragment.  In  the  left  lower  corner  stands  a  stork 
towards  whom  three  men  advance  with  grotesque  movements.  They  have 
long  hair  hanging  down  their  backs  and  wear  short,  girt  chitons  and  the 
second  carries  a  wine-skin  on  his  shoulders.  So  does  the  fourth  man  who 
ambles  towards  the  right.  Their  postures  recall  the  movements  of  the 
Kordax  as  shown  on  b.-f.  vases.  Height,  m.  0-15  X  o~+$.  Second  half  of 
VI.  Century. 

TYPE  X — UNCERTAIN  MOTIVE 
(i)  Etruria.* 

"  Fragments  of  an  archaic  Etruscan  frieze  not  yet  put  together." 

i  Pellegrini,  p.  107,  No.  24,  fig.  14  ;   Helbig,  ii,  p.  283,  No.  1672. 
1  Cat.  Coll.  Arndt  (1908),  p.  37. 


INDEX    OF  MUSEUMS 


Athens  :   National  Mus.,  p.  47 

Berlin  :   Antiquarium,  pp.  12,  14,  16,  20,  23 

40,  46,  60,  65,  66 
Boston  :   Mus.  of  Fine  Arts,  p.  51 

Caere  :    Mus.  Municipale,  pp.  14-16 
Corneto  :  Mus.  Municipale,  p.  65 

Florence  :  Mus.  Archeologico,  pp.  6,  12,  22, 
35.  44.  54.  7° 

Kopenhagen  :  National  Mus.,  pp.  7,  21  ; 
A/y  Carlsberg  Mus.,  pp.  11-13,  J5»  I^»  J9» 
24,  34,  42-7,  60,  65,  66 

Lanuvium  :  Mus.  Municipale,  pp.  21,  24,  28 
Leiden  :    University  Mus.,  p.  7 
London  :    British  Mus.,   pp.  16,  19-21,  24, 
60,  65,  66 

Munich :  Antiquarium,  pp.  9,  19,  39,  59, 
60,  64,  65,  72 

Naples  :    Mus.  Nazionale,  pp.  61,  68-70 
New  York  :    Metropolitan  Mus.,  pp.  5,   14, 
16 


Orvieto :     Opera   del  Duonto,    pp.    19,    39  ; 

Palazzo  Faina,  pp.  16,  19 
Oxford  :    Ashmolean  Mus.,  p.  16 

Paris  :    Bibliotheque  Nationals,  pp.  27,  64  ; 
Louvre,  pp.  9,  20,  22,  41,  60,  64,  65,  70  ; 
Coll.  Beugnot,  p.  13 
Perugia :    Mus.  Etrusco-Romano,  p.  17 
Philadelphia  :    University  Mus.,  pp.  14-16 
Praeneste  :  Mus.  del  FAerarium,  p.  17  ;  Mus. 

Municipale,  p.  67 

Princeton  :  University  Mus.,  p.  22  ;  Collec- 
tion of  Professor  Marquand,  p.  22 

Rome  :  Mus.  dei  Conservatori,  pp.  7,  10,  17, 
42,  68  ;  Mws.  Gregoriano,  pp.  16,  38,  62  ; 
Mus.  Nazionale,  pp.  9,  23,  24,  61,  67,  68, 
70  ;  Mus.  of  American  Academy  in  Rome, 
p.  16  ;  Mus.  di  Villa  Giula,  pp.  3,  6,  8- 
13,  15,  18-21,  23-8,  31,  36-8,  41,  47-54. 
6l~3.  65,  66,  72 

Siena  :    Coll.  Chigi,  pp.  6-8,  n,  22 
Strassburg,  Archceologische  Mus.,  p.  14 

Velitrae  :  Mus.  Municipale,  pp.  9,  15,  24, 
37.  47-9.  60,  61,  68-70 


GENERAL   INDEX 


Achelous  :   pp.  4,  13 
Ak  Alan  :   pp.  35,  57 
Amazon  :    pp.  42,  50,  51,  61,  62 
Antemnae :    p.  23 
Ardea  :   pp.  9,  20 
Athena :    pp.  5,  26,  35,  40-2,  54 
Athens,  Acropolis  :   pp.  4,  5,  40,  42,  57,  64, 
69 


Bird  :    see  Griffin 


Caere  :   pp.  4,  6-8,  n,  13-16,  19,  22,  23,38 

40,  41,  43,  44,  47,  60,  65,  66,  70,  71 
Camerina :    p.  39 
Campania:  pp.  3,  34 
Capua :   pp.  21,  22 
Chariot :  pp.  57,  58,  63-9 
Chiusi :   p.  22 
Corneto :    pp.  22,  65,  67 

Daemon  :   pp.  4,  26,  40 


73 


74 


GENERAL   INDEX 


Damophilos  and  Gorgasos  :    pp.  31—3 
Dance  :    pp.  5,  24,  71,  72 
Delphi :    pp.  5,  58,  69 

Eos  and  Kephalos  :   pp.  4,  40,  41 

Etruria  :    pp.  3,  7,  9,  20,  21,  31,  32,  34,  39, 

57.  72 
Eucheir,  Diopos  and  Eugrammos  :    pp.  31, 

33 

Falerii :   pp.  4,  9-12,  18,  19,  24,  25,  27,  36- 

8,  41.  44 
Female  head  :   pp.  4,  14-23,  49,  53,  54 

Gordion  :    pp.  35,  57,  66 
Gorgon  :    pp.  6-9,  34,  41,  52,  54 
Griffin  :    pp.  4,  36-8,  49,  50,  59 

Harpy  :   pp.  4,  27 

Horse:    pp.   4,   38,   43,   49,   5i~3.   57-^9  •' 

winged  :    pp.  38,  58,  66-8 

Juno  Sospita :    pp.  4,  5,  23 
Jupiter:    pp.  32.  34 

Kythnos  :    pp.  57,  60 

Lanuvium  :   pp.  4,  19,  21,  24,  28 
Larissa  :  pp.  35,  57,  58,  61,  69,  71 
Latium  :   pp.  3,  57 
Lion  :   pp.  41,  48.  53,  54,  59,  63,  66 

Maenad  :   pp.  4,  5,  24-6 

Narce :  p.  12 
Neandria  :   pp.  57,  59 
Norba :   p.  23 


Orvieto :   pp.  12,  16,  19,  39,  40 

Palaikastro  :    pp.  57,  64 

Palmette  :  pp.   4,  28,  47,  48 

Perugia :   p.  17 

Praeneste  :    pp.  16,  17,  62,  66,  67 

Prinia :    p.  51 

irarvia  dijpwv  '.    pp.  4,  28 

Rome :    pp.  6,  7,  9,  10,  17,  21,  23,  24,  28, 
3i,  32,  37.  39,  42,  47.  51.  61,  64,  67-71 
Rosarno  Medma :    pp.  5,  35 
Rosette  :   p.  28 

Satricum  :    pp.  6,  9,  10,  15,  20,  22-4,  26-8, 

36,  44,  47,  48,  50,  52,  61,  62 
Satyr  :   pp.  4,  5,  9-13,  24-6  ;   seated  :   p.  13 
Sea  Monsters  :   p.  39 
Signia :   pp.  9,  10,  23,  44,  49,  50 
Spoleto :   p.  28 
Statonia  (Pitigliano) :   pp.  38,  48,  58-60,  63, 

?i 
Syracuse  :    pp.  34,  35,  52 

Tivoli  :    p.  23 

Toscanella :   pp.  58,  60,  64,  65 

Veii :   pp.  4,  8,  12,  13,  18,  32-4,  37,  48,  61, 

65 
Velitrae  :    pp.  9,  15,  24,  37,  48,  49,  58,  60, 

61,  68-70 

Vignanello  :   pp.  8,  51 
Vulca  of  Veii :   pp.  32,  33 
Vulci :   pp.  14,  27,  62 

Warriors  :   pp.  41-7,  49-53,  57,  60,  61,  64-  7 
Winged  Beings  :    p.  28 


Printed  by  HtutU,  Wutton  &  Vinty,  Ld.,  London  and  Aylesbury,  England. 


12 


PLATE    II. 


i 
FIG.   i. — ANTEFIX,  GORGON-,  SATRICUM,  I,  i. 


FIG.   2. — ANTEFIX,  GORGON,  CAERE,  I,  i. 


FIG.  3. — ANTEFIX,  GORGON,  ROME,  I,  v. 


FIG.  4. — ANTEFIX,  GORGON,  UNCERTAIN 
PROVENANCE,  I,  viii. 


PLATE   III. 


FIG.  i. — ANTEFIX,  SATYR'S  HEAD, 
SATRICUM,  II,  i. 


FIG.   2. — -ANTEFIX,  SATYR'S  HEAD, 
FALERII,  II,  i. 


FIG.  3. — ANTEFIX,  SATYR'S  HEAD, 
SATRICUM,  II,  iii. 


FIG.  4. — ANTEFIX,  SATYR'S  HEAD, 
ROME,  II,  iii. 


PLATE    IV. 


FIG.  i. — ANTEFIX,  SATYR'S  HEAD, 
FALERII,  II,  v. 


-ANTEFIX,  SATY 
CAERE,  II,  vii. 


FIG.  3. — ANTEFIX,  SATYR'S  HEAD,  UN- 
CERTAIN PROVENANCE,  II,  ix. 


FIG.  4. — ANTEFIX,  SATYR'S  HEAD, 
VEII,  II,  xi. 


PLATE   VI. 


FIG.   i.. — ANTEFIX,  FEMALE  HEAD, 
CAERE,   IV,  \a. 


FIG.  2. — ANTEFIX,  FEMALE  HEAD,  CAERE  (PROFILE),  IV,  \a. 


PLATE    VII. 


FIG.   i. — ANTEFIX,   FEMALE  HEAD 
CAERE,   IV,  ib. 


• 


Vi 


m 


FIG.  2. — ANTEFIX,  FEMALE  HEAD, 
CAERE,   IV,  ic. 


FIG.  3. — ANTEFIX,  FEMALE  HEAD, 
CAERE,  IV,  id. 


FIG.  4. — ANTEFIX,  FEMALE  HEAD,  CAERE,  IV,  iv. 


PLATE   VIII. 


FIG.   i. — ANTEFIX,  FEMALE  HEAD,  CAERE  (PROFILE),  IV,  iv. 


FIG.  2. — ANTEFIX,  FEMALE  HEAD,  PRAENESTE, 
IV,  vii. 


FIG.  3. — ANTEFIX,  FEMALE  HEAD, 
CAERE,  IV,   viii. 


FIG.  4. — ANTEFIX,  FEMALE  HEAD,  CAERE 
(BRITISH  MUSEUM),  IV,  viii. 


PLATE   XII. 


FIG.   i. — ANTEFIX,  FEMALE  HEAD 
VEII,   IV,  xii. 


FIG.  2. — ANTEFIX,  FEMALE  HEAD,  FALERII, 
IV,  xiii. 


FIG.  3. — ANTEFIX,   FEMALE  HEAD, 
ORVIETO,  IV,  xiv. 


FIG.  4. — ANTEFIX,  FEMALE  HEAD, 
UNCERTAIN  PROVENANCE,  IV,  xv. 


PLATE   XI. 


FIG.  i. — ANTEFIX,  FEMALE  HEAD,  PERUGIA,  IV,  x 


FIG.  2. — ANTEFIX,  FEMALE 
HEAD,  PRAENESTE,  IV,  xi. 


PLATE    XII. 


FIG.   i. — ANTEFIX,  FEMALE  HEAD, 
VEII,   IV,  xii. 


FIG.  2. — ANTEFIX,  FEMALE  HEAD,  FALERII, 
IV,  xiii. 


FIG.  3. — ANTEFIX,  FEMALE  HEAD, 
ORVIETO,  IV,  xiv. 


FIG.  4.— ANTEFIX,  FEMALE  HEAD, 
UNCERTAIN  PROVENANCE,  IV,  xv. 


PLATE    XIII. 


FIG.  i. — ANTEFIX,  FEMALE  HEAD, 
CAERE,  IV,  xvii. 


FIG.   2. — ANTEFIX,  FEMALE  HEAD,   SATRICUM, 
IV,  xviii. 


FIG.  3. — ANTEFIX,  FEMALE  HEAD, 
"  ETRURIA,"  IV,  xviii. 


r 


FIG.   i. — ANTEFIX,  SATYR  AND  MJENAD, 
SATRICUM,  V,  i. 


FIG.  2. — ANTEFIX,  SATYR  AND  M/E.VAD 
SATRICUM,  V,  i. 


FIG.  3. — ANTEFIX^:,  SATYRS  AND  MAENADS,  FALERII,  V,  ii. 


PLATE    XVI. 


FIG.  i. — ANTEFIX,  HARPY,  SATRICUM,  VII,  i. 


PLATE    XVII. 


FIG.   i. — AKROTERION,  BIRD,  FALERII,   I,  xi. 


16 


FIG.  2. — AKROTERION,  WINGED  HORSE,  CAERE,  IT,  i. 


PLATE    XVII I. 


FIG.   i.— AKROTERION,  THREE-HEADED  DAEMON, 
ORVIETO,   III,  iv. 


FIG.  2. — AKROTERIOX,  Eos  AND  KEPHALOS,  CAERE,  IV.  i. 


FIG.  3. — AKROTERION,  WARRIORS,  FALERH,  V,  i. 


PLATE   XIX. 


FIG.   i. — AKROTERION,  WARRIORS,  FALERII 
(REVERSE),  V,  i. 


FIG.   2. — AKROTERION,  WARRIORS,  FALERII   (DETAIL),  V,  i. 


FIG>  3. — AKROTERION,  AMAZON,  ROME,  V,  ii. 


PLATE    XX. 


FIG.   i.- — COLUMEN,  WARRIORS,  SATRICUM,  i. 


pIG    2. — MUTULI,  SATRICUM,  n. 


PLATE    XXII. 


FIG     L — SINGLE  SLABS,  FEMALE  HEAD,  BOLSENA  (?),  vii. 


FIG    2.— SINGLE  SLABS,  HEAD  OF  ATHENA, 
BOLSENA  (?),  viii. 


- 


X  ' 

W 
H 


18 


PLATE    XXVI. 


FIG.   i. — FRIEZES,  ARMED  RIDERS,  VELITR^E,   III,  ii. 


FIG.  2. — FRIEZES,   ARMED  RIDERS, 
SATRICUM,  III,  iii. 


FIG.  3. — FRIEZES,  ARMED  RIDERS, 
SATRICUM,   III,  iii. 


PLATE    XXVII. 


FIG.   i. — FRIEZES,  AMAZONS,   PRAENESTE,  III,  v. 


FIG.  2.  —FRIEZES,  AMAZONS,  PRAENESTE,  III,  v. 


PLATE    XXVIII. 


FIG    i.- — FRIEZES,  HORSES'  HEADS,  UNKNOWN  PROVENANCE,  III,  vi. 


FIG.  2. — FRIEZES,  CHARIOT  AND  WARRIORS,  STATONIA,   IV,  i. 


PLATE    XXIX. 


IWTfTff? 

i  1  I 


FIG.   i. — FRIEZES,  CHARIOT  AND  WARRIORS,   TOSCAXELLA,   IV,  ii. 


m  #< 

55- x  ™     f 

T¥Km 


FIG.  2. — FRIEZES,  CHARIOT  AND  WARRIORS,  TOSCANELI.A,   IV,  iii. 


PLATE    XXX. 


FIG    i. — FRIEZES,  CHARIOT  SCENE,  CAERE,   IV,  iv. 


FIG.  2. — FRIEZES,  CHARIOT  SCENE,  CAERE,  IV,  vii. 


PLATE    XXXI. 


FIG.   i. — FRIEZES,  CHARIOTS  AND  WINGED  HORSES,  PRAENESTE,   VI,  i. 


FIG.  2. — CHARIOT  WITH  WINGED  HORSES, 
VELITR/E,  VI,  iv. 


FIG.  3. — FRIEZES,  CHARIOT  WITH  WINGED  HORSES,  ROME,  VI,  iv. 


PLATE   XXXII. 


FIG.   i. — FRIEZES,  CHARIOT  RACE,  VELITR^E,  VII,  i. 


FIG.  2. — FRIEZES,  SCENES  OF  CHARIOTS,  SYMPOSIUM,  ETC,  ROME. 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 

Los  Angeles 
This  book  is  DUE  on  the  last  date  stamped  below. 


* 


Form  L9-Series  444 


3  1158  00671    5139 


A     000098219     9 


